MuUC LUC LOI NOI DAU PART I ARCHITECTURE Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Text 1 Text 2 Text 3 Text 4 PART IT Lesson Lesson Lesson Lesson 1 Planners of Saigon South project 2 Fresh start 3 Scenic overlook ahead 4 Modesty on a grand scale 5 Contemporary cottage 6 Choosing exterior colors 7 House of Orange 8 German Architecture SUPPLEMENTARY READING An urban park in Sydney : Darling Harbour Urban evolution ‘Triumphant triangle The ultimate home show CIVIL ENGINEERING 1 Surveying 2 Foundations in subsident soils 3 Piling design innovation 4 Vacuum consolidation Trang 19 37 45 60 68 15 86 91 95 99 114 127 132Lesson 5 The Mebradrain system Lsson 6 Modern buildings and structural materials Lesson 7 Introducing formwork Lesson 8 Batching, mixing, transporting, placing, curing and control procedures Lesson 9 Water penetration proof Lesson 10 Transportation systems Lesson 11 Bridges Lesson 12 Tunnels SUPPLEMENTARY READING Text 1 Lightning protection for structures Text 2 Pile integrity tester Text 3 Corrosion of reinforcing bars in concrete and prevention methods Text 4 Formwork for floors Text 5 Column formwork Text 6 Residential steel-frame construction Text 7 Subsidence damage to buildings : prediction, protection and repair Text 8 ISO 9000 : Building quality into your future Text 9 How can buildings be intelligent ? ANNEXES 1. Abbreviations applied to drawings and other documentations 2. List of construction machines TAI LIEU THAM KHAO 139 156 169 177 192 197 207 216 229 233 253 265 275 277 292 301 324 329LO! NOI DAU Tren khdp moi mitn cia dat nude ta dang cd su bing nb v8 xéy dung cde cong trinh co sé ha ting nhu ding cao tc, chu dng, bén cing, céc khach san, nha 4, cdc khu do thi ... R&t nhidu du Gn cita ta‘cé su tham gia déng gop cia déi téc nude ngodi trén nhitu phuong dién k¥ thudt nhu thiét ké tu vdn ky thudt, gidm sét ky thudt v.v. Do vey ting Anh chuyen nganh ky thudt xdy dung va hién trite tré nén rét quan trong dbi udi cde cén b6 chuyén nghiép ciing nhu céc phién dich vien dang cong téc cho nganh. Cu6n sich nay ra doi nham phuc vu yeu cdu tren, Ngodi ra séch cting cb ich déi vdi che gidng vien cing nhu sinh vién céc truong dai hoc thuéc chuyén nganh ky thugt xdy dung dan dung. Séch gitip cée déc gid hiéu va ding ding cde thudt nga quan trong cia nganh. Séch gdm hai phan : Part I : Architecture (Kién tric) cé6 8 bai chinh va 4 bai doc thém sé trinh bay v8 quy hogch va cde linh vuc thiét RE, kién tric. Part II : Civil Engineering (Ky thudt xty dung dan dung) gdm ©6 12 bai chinh va 9 bai doc thém, trinh bay tuong déi rong v® cde link vuc xOy dung, tit cong tac khdo sét, trac dac, nén méng, xit ly méng, vén khudn, bétong, cbt thép ... dén ching thm va chéng sé cho cong trinh. Cudi cing la phan phy luc gdm céc chit viét tat thuong dingtrong xby dung, bang ké tén cée may va thiét bi xdy dung. Voi noi dung néu tren the gid hy vong cudn séch sé tro gitip va lam gidm bét phan nao khé khan cia ban doc trong cong vite thuc té. Cuéi cing t6i xin chén thanh edm on Ban bién tp Nha xudt bén Khoa hoc va Ky thugt dé doc, gop j, hieu dink cing nhu tao moi ditu kien dé cu6n sich duge xudt bin kip thei phuc vu ban doc. TAC GIAPart 1 ARCHITECTURE Lesson 1 PLANNERS OF SAIGON SOUTH PROJECT SOM’s Planning Studio in San Francisco originally focused on the conversion of ranchlands in Southern California and Texas into new urban centers like Irvine near Los Angeles and Las Colinas near Dallas. These very large holdings - literally tens of thousands of acres - were planned for long-term growth. Our role as planner allowed us to track their development and intervene periodically to address specific problems. Over time, we saw quite consistently that the "freeway scale” of these new communities undermined their human scale. Despite rapid growth, substantial wealth and the presence of important “anchors” like a new university, these communities lacked a sense of place. As they grew, we finetuned our plans to add density, improve access to districts and neighborhoods, and - most impor- tantly - to create "walkable" neighborhoods that encouraged people to leave their cars. We started working in Asia in the late eighties - initially, in Bangkok and Jakarta. These two cities, famous for their “gridlock”, taught us some immediate lessons in how quickly car and’ motorbiketraffic can overwhelm cities that were not designed for them. At the same time, we were impressed by the pedestrian scale of their older districts. Despite their congestion, they teemed with life. Yet many of them had already been disrupted by Western-style development. Tall buildings and oversized shopping malls were placed almost randomly across these cities, with no apparent awareness of their impact on traffic and on the "quality of life" of neighborhoods and districts. Because our practice is in San Francisco, one of America’s more beautiful cities, we also had considerable experience planning new development within historic districts and in areas of great environmental sensitivity. In Asia, we saw by contrast how Singapore had eradicated its own history as it modernized - to the point that it had to rebuild some of its older districts. Elsewhere, we saw the steady erosion of the natural setting - with hillsides, canals and agricultural greenbelt sacrificed to rampant, unmanaged growth. In Hong Kong, though, we saw how the development of the New Territories preserved the larger environment. A new town like Shatin, the size of Boston, provides a density that makes public transit viable ~ so that few people commute by car. Compact, highrise development of this type protects the surrounding hillsides, so that virtually every apartment enjoys a view out to unspoiled nature. Because of this experience, what we brought to our new projects in China and Vietnam was threefold : « From our US. experience, a sense of the importance of density, accessibility, and a pedestrian - human ~ scale. « From our Asian experience, a sense of the vulnerability of the traditional Asian city "fabric' - its historic pattern of development - to unmanaged modernization. e Also from Asia, the sense that growth could be managedwith proper planning - and that discovering how to manage growth appropriately was perhaps the biggest challenge facing us in our Asian projects. Not surprisingly, we found that many Asians shared our views. Our Vietnamese clients for the Saigon South project, for example ~ planners and other officials with the Ho Chi Minh City government - were well aware of the problems of Bangkok and Singapore. This awareness gave them a strong sense of what to avoid. While they might desire Western-style buildings, they understood that these alone would not give them a modern city ~ let alone a city rooted in their own culture, climate and traditions. In 1993, SOM won an invited competition to plan a 6,300 acre area directly south of the historic center of Ho Chi Minh City. This area, now known as Saigon South, will extend the existing city to provide modern buildings and infrastructure - as well as employment and housing - for a million people. The project is a good case study of how technology transfer in the field of urban. development works in practice in this Southeast Asian country. Despite the City’s growth in the years of American occupation in the sixties and early seventies, the agricultural areas to the south and east remained undeveloped. By the early nineties, as Vietnam resumed trade with its former enemies, the question of extending the City became more pressing, The basic options were to : « Redevelop the existing City at a higher density, which could put its unique fabric - the product of French colonial and merchant Chinese influences - at risk. ¢ Push east ~ a step that would require tall bridges over the heavily - used Saigon River. * Push south - a natural extension of the City that also linked to a new deepwater port and industrial zonesoutheast of the Central District. The City opted to push south. They also joined forces with a Taiwanese company, the Central Trading & Development Group (CT&D), that is also a major investor in the new industrial zone near the port. This joint venture, the Phu My Hung Corporation, is our client for the project. Ho Chi Minh City is a charming city with low buildings and substantial open space in the form of parks and tree-lined boulevards. Rivers, canals and waterways are an important feature - unlike Bangkok, they have not been paved over. In its vision of Saigon South, our client wanted very much to bring forward the traditions of the older city. They wanted to preserve what exists now — the historic districts of Ho Chi Minh City and the unspoiled agricultural greenbelt that adjoins it to the south and east. Yet they also wanted to restore the city as Vietnam’s commercial center, its "gateway" to the world economy. The new community of Saigon South, as modern urban center, will provide this transformation without harming what is unique and irreplaceable in the older city and its region Although we ‘won the competition, we were also attractive to the client because of our specific knowledge of urban-scale development elsewhere in the world. Unlike some of our competitors, we had acually implemented many of these projects - the advantage of also being both architects and engineers. In addition, we brought an important set of tools to the project — tools that were not available to the City government or to local planners. For example, the City’s government lacked the technology to evaluate the impact of the project on regional water quality. Our team’s hydrologist, Woodward-Clyde Associates, provided this analysis using a modified version of a U.S. Environmental Protection ‘Agency simulation program that can model a regional water "eco-system". We used this computer-based model to test the impact of restoring 10and reopening canals and waterways across the new project. In this way, we were able to arrive at planning solutions that improved water quality substantially in the region. The City also lacked an adequate regulatory structure for guiding development. Zoning and building regulations were substandard or non-existent. Our plan provided a "framework" of planning and design principles for the project that provided the basis for City-enacted zoning requirements for the area. Some examples of these principles are : Compactness Development should be concentrated in centers to ensure an appropriate density, preserve open space and support public transit service. Boundaries Development should occur only within well-defined areas with clear boundaries. (These can include natural boundaries like canals and waterways). Walkable neighborhoods Neighborhoods should be compact enough to encourage people to walk. A maximum width of 1.5 km makes for a walkable setting. Linked development and transportation Major arterial roads and transit corridors should be designed so that they can be easily upgraded in capacity and service as development occurs and demand increases. Landbanking Expansion areas within each center (including transportation corridors) should be landbanked initially, allowing their interim use by the community while discouraging inappropriate development. llPreserving the larger setting The larger ecosystem of agricultural land, navigable rivers, canals: and smaller waterways should be preserved and improved as part of the development process - both as an amenity and to maintain regional water quality. ‘As Saigon South began initial construction, we also helped the City to modernize its existing building code-first, by comparing it with U.S. and European codes, and then by recommending one of them (America’s Uniform Building Code) as a potential standard. In both these cases, the transfer of technology was tempered by our understanding and appreciation of the remarkable character of the City and its larger natural setting of water and wetlands. In planning modern development in this context, we were determined to bring forward these essential attributes - to make Saigon South truly an extension of what exists, not something that is transplanted or grafted on to it. As the U.S. real estate market revives, we again see pressures and problems developing at our end of the Pacific that could benefit from what we have learned from Asian cities. The example of Hong Kong’s New Territories, mentioned previously, has application to the San Francisco Bay Area. Tokyo, with its wonderful public transit network, is a potential model for Los Angeles — similarly, a metropolis made up of dozens of smaller urban centers. California’s population will increase substantially in the next two decades. Because cities like San Francisco are not building new housing in any sizeable quantity, the growth is shifting to the periphery. The Central Valley, California’s agricultural "breadbasket" is rapidly becoming the new Los Angeles - sprawling, car-based and smog-filled. 12The lessons of Asian cities that we are applying to Saigon South are equally relevant to California. Like Ho Chi Minh City, swe can choose to preserve open space - building at a higher density, defining clear boundaries for new development, and restoring patterns of human settlement that balance jobs and housing and encourage people to walk and use public transit. Like Hong Kong, we can choose to invest systematically in the "infrastructure" — housing, education and transportation - we need to maintain our competitiveness in the world economy. The risk is that, like Bangkok or Jakarta, we will ignore these issues and squander our opportunities. The problems of these cities are not impossible to solve, but they are very difficult. A team of planners from MIT recently suggested, in essence, that Bangkok simply "start over" - a recommendation that was not considered very practical, Los Angeles is not yet Bangkok, just as the Central Valley is not yet Los Angeles, but Bangkok’s problems (or Mexico City’s) are a preview of what could happen here. The experience of working in Asian cities gives us both a sense of ur- gency about our own problems and some concrete ideas about solving them. This, too, is technology transfer. VOCABULARY e planner nha qui hoach thiét ké « SOM’s Planning Studio Xuéng qui hoach thiét ké SOM (SOM = Skidmore, Owing & Merrille : ten riéng ciia cdc ign tric su) © ranchland ving trang trai chin nudi ¢ holding khoanh dat 1314 long-term growth sy phat trién dai han to, track theo déi intervene periodically to address specific problems tham gia (can thiép) dinh ky nham gidi quyét céc vuéng mac cu thé. “freeway scale" of these new communities under mined their human scale "kiéu bam vao dudng 6t6" cia nhiing cong déng méi nay da pha hoai sy gén bd (két bim) gitia con ngudi véi nhau we finetuned our plans to add density ching toi da diéu chinh chi tiét (tinh chinh) qui hoach dé tang mat do to create "walkable" neighborhoods that encouraged people to leave their cars tao ra céc khu vue xung quanh "cd thé dao bé', khuyén khich ngudi ta roi bé oto vita hg gridlock su téc nghén mang luéi giao thong to overwhelm cities tran ngap c4c thanh phé pedestrian scale mttc dd (ngudi) di bd despite their congestion, they teemed with life bat chap sy td4c nghén giao thong, céc khu ph6 do vin déy t ngudi (di bd) yet many of them had already been disrupted by Western-style development 4y thé ma nhiéu khu phé trong sé dé da bi sy phat trién kiéu phuong Tay pha vo canh quan oversized shopping malls cdc khu ctta hang, ctta hiéu qua khé randomly mét c4ch bita bai, cu tha apparent awareness nh4n thifc ré rang impact on traffic and on the "quality of life” tacdong déi véi giao thong va chat lugng cuéc séng experience planning new development kinh nghiém qui hoach phat trién méi we saw by contrast how Singapore had eradicated its own history as it modernized- to the point that it had to rebuild some of its older districts ching toi d& thay r6é qua su tuong phan viéc Singapore da xda bé lich st cua ho khi ho hién dai hoa nhu thé nao, dén mic ho da phai xay dung lai mét vai khu phd 6 steady erosion of the natural setting sy xdi mon thudng xuyén canh quan ty nhién greenbelt vanh dai xanh rampant, unmanaged growth su phat trién tran lan khong duge quan ly to make public transit viable - so that few people commute by car lam cho sv di lai bing phuong tién giao théng cOng cong tré nén phé bién - khién cho ft ngudi st dung 6t6 dé di lai every apartment can enjoy a view out to unspoiled nature méi can phong co thé duge ngém ra canh thién nhién khong bj tan pha a sense of the importance of density, accessibility and a pedestrian - human - scale sy cam nhan vé tém quan trong cla mat do 4, tinh tiép cin vA mtic d6 di bo va g&n két con ngudi a sense of the vulnerability of the traditional Asian city "fabric" su cam nhan vé tinh dé tén thuong cia két céu thanh phé chau A truyén thong the biggest challenge facing us in our Asian projects thach thtic lén nhat déi voi ching toi trong cdc dy an chau A cia ching t6i this awareness gave them a strong sense of what 1516 to avoid y thtic vé van dé nay gitp cho ho cd duge su cam nhaén manh mé vé nhitng gi can tranh let alone a city rooted in their own culture, climate and traditions chua noi dén mot thanh phé bat ré sAu vao nén van hoa, méi trudng va truyén théng cua riéng minh let alone chua noi dén the project is a good case study of how technology transfer in the field of urban development works in practice in this Southeast Asian country Dy 4n nay la m6t nghién ctu cu thé t6t vé viéc su chuyén giao cong nghé trong linh vuc phét trién d6 thj da duge thuc hién trén thuc té nhu thé nado 6 dat nuéc Dong Nam A nay the question of extending the City became more pressing vin dé mé rong thanh ph6 da tré nén biic xtc hon basic options cdc phuong 4n Iya chon co ban push east/south phat trién vé phia déng/nam tree-lined boulevard dai 16 cd tréng hang cay to bring forward the tradition truyén dat truyén thong gateway cita ngo unique déc déo, déc nhat v6 nhi irreplaceable khéng thé thay thé dugc important set of tools b6 céng cu quan trong to evaluate danh gid, thém dinh hydrologist nha thiy van hoc, ngudi nghién ctu thay van Woodward-Clyde Associates : tén mot 16 chite nghién citu thity van U.S. Environmental Protection Agency simulation2-THTA program chudng trinh mo phéng cia Co quan bao vé méi trutng Hoa Ky eco-system, ecosystem hé sinh thai to restore kh6i phuc lai, xay dung lai planning solutions nhig gidi phap qui hoach adequate regulatory structure for guiding development co cau luat 16 thich hop dé dinh huéng phat trién zoning and building regulations nhitng qui dinh phan ving qui hoach va xay dung substandard (adj) chua qui chudn, chua du tiéu chudn city-enacted zoning requirements nhiing qui dinh (yéu c&u) phan ving qui hoach do thanh phé ban hanh compactness su tap trung, su cé dong, su gdi gon, su nhé gon arterial road dudng giao thong huyét mach transit corridors cac dudng hanh lang chuyén tiép to upgrade nang cép landbanking dép dat, ké dat attribute thudc tinh to transplant cdy ghép to graft ghép New Territories Tan gidi (thuéc Héng Kéng) metropolis thi phi, thanh phé chinh "breadbasket" gid banh mi (nghia bong, tua nhit lia" 6 ta) ‘vua patterns of human settlement that balance jobs and housing céc hinh m4u dinh cu cAn bang gitta cong viéc va nha & sprawling phat trién dan trai car-based chita (day) 6 t6 17« smog-filled bi suong mi do 6 nhiém) bao phii © ‘start over" bat dau lai, lam lai ti dau * infrastructure ha téng co sd DISCUSSION 1. What did SOM’s Planning Studio focus on ? 2. What is the role of planners ? 3. How did the planners finetune their plans as the cities grew ? 4. What projects in Asia did they start and when ? 5. What experience had they when they started working in Asia ? 7. What happened when Singapore modernized ? 8 Did Hong Kong eradicate it’s own history during modernization ? 9. What experience they brought to new projects in China and Vietnam from U.S.A. and Asia ? 10. Are Vietnamese planners and other officials with Ho Chi Minh City government aware of the problems of Bangkok & Singapore ? 11. What competition SOM won in 1993 in Ho Chi Minh City ? 12. What the chief principles did SOM’s plan provided for Saigon urban development project ? 13. What were the basic options of extending the City ? 14. Will Saigon South provide modern buildings and infrastructures and what it can be based on ? 18Lesson 2. FRESH START Drive through one of Chicago’s North Shore suburbs and you'll likely find yourself cruising beneath massive oaks and maples that shade ivy-laced older homes. "The trees have always been my weakness" says architect James March Goldberg of Lake Forest, Illinois, who designs renovations and new homes along the North Shore with his partner, Mark J.Downey "Wherever possible, we would rather preserve what is there". Goldberg says of the old homes. Sometimes, though, the cost of remodeling an old house to meet building codes and to make it comfortable by today’s standards is so high it makes more sense to demolish and start fresh, A small part of history may be lost, but the new house can incorporate features impossible to achieve through remodeling. When the replacement fits in with its older neighbors, everybody wins. “There has been a growing trend toward anti-teardown, and there are some good reasons for that", Goldberg acknowledges. "But in this case, the existing home was one of the most unlikely candidates to remodel that we have had. I believe it had been on the market for some time’. Among its problems were the small size, absence of charm or historical significance, awkward design, narrow passageways and rooms that begged for remodeling, a poor floor plan for remodeling or expansion, and outdated plumbing, heating, and electrical systems that Goldberg would have had to replace. "There was not a logical way to go about adding on without totally gutting the house’. Goldberg says. "Some of the structural members appeared to be underdesigned. Lots of walls and floors and surfaces were out of plumb. To put things in alignment would 19have meant taking the house apart. By the time we had it straightened out, it would have been the equivalent of a new structure. "The bottom line was that to remodel would have cost significantly more than to build a new house", says Goldberg. For roughly $12,000, the old house was demolished to make room for a Victorian-style home that would suit both a traditional neighborhood and contemporary owners. Cedar siding, lattice, and a cedar shake roof make the new home welcome among its Victorian and early 20th-century neighbors. A bright and open interior delights its owners. The new home Goldberg and Downey designed and built at a cost of $95 per square foot, excluding the lot, was exactly what Tom and Katrina Kelley were looking for. They had lived in a country setting, but with their five children out of the nest, they were seeking a lower-maintenance home in the village where Katrina had grown up. They also wanted a first-floor master bedroom, uncommon in older houses. "We saw this house first’, says Katrina, "and when we walked in, we fell in love with it. We only looked at one other to be polite to our Realtor’. Their previous houses had been more traditional. "This was different, so that was exciting’, says Katrina. "Tt was built from the outside to fit in with all the Victorian neighbors, but you walk in and it’s postmodern. It’s an ‘Oh, wow !” house’. The 3,772-square-foot house was designed to fit its narrow lot. The spacious, open interior comes as a surprise because the home’s volume isn’t apparent from the street The home’s narrow lot presented Goldberg and Downey with a first-floor design challenge : getting people from the front door 20to the core of the house without taking them down a long, narrow hallway. The architects’ answer: a wide, spacious entry and hallway. "When you come in the front door", Goldberg says, "it’s fairly wide and continues wide to keep you from feeling like you are in a tunnel”. Elegant black granite in the foyer below ushers visitors onto diagonal oak flooring used throughout the house. The oak stairway leads to an open loft office and sitting room. Plentiful cabinets and a pantry offer a place for everything in the kitchen, while double wall ovens and a large refrigerator allow the cooks to get creative for family gatherings. The dining room, just a few steps away from the kitchen, is large enough to seat sizable dinner parties. The Kelleys added corner cupboards made of old wood to complement the Itatian retractory table, which belonged to Tom’s mother. First-floor rooms aren’t defined by walls but by neoclassic pillars, contrasting ceiling heights, and changes in floor levels that still leave an open floor plan. This vertical and horizontal openness is often impossible to achieve by remodeling the formal, enclosed rooms of an older home. Also, it’s often not cost-effective to sacrifice second-floor rooms, replace load-bearing walls with columns and beams, and reroute plumbing, heating and electrical wiring. Bob and Katrina enjoy their new home’s openness. "We live all over the house, even though there are just the two of us’, Katrina says. With three bedrooms and two bathrooms on the second floor, there’s always room to host family visits from their five children and eight grandchildren. The plan also offers many options for serving dimer guests, who can move from the dining room to the living room to a backvard deck anda brick patio. TRUOKG ONOL-KICN THU VIEN nThe kitchen opens onto a deck that can hold a small group, while the family room opens onto a brick patio that can handle a larger party. ‘The backyard is separated from an adjoining church parking lot by a cedar board fence softened with small trees. "One of the prettiest sights at night is the lighted church steeple’. Katrina says The Kelleys delight in their new home and the village lifestyle it allows. "Now we can walk everyplace’, Katrina says, "We always shopped here anyway. In a way, it’s coming home for me". * * * REMODEL OR START FRESH ? When the site becomes more valuable than the house There has been some debate about the practice of tearing down old homes to make way for new ones. Some argue it changes the architectural character of a neighborhood. Others contend there are times when tearing down a house and starting fresh makes sense. Here are some factors to consider : Location and profit. One Boston builder, for example, paid $500,000 for a house and lot in a pricey neighborhood near good schools and main city thoroughfares. The house, a three-bedroom Cape Cod built in 1952, was no prize with its lack of insulation and older-style, energy-wasting windows. Considering the lot size, the builder estimated he could tear down the old house and build a new one that would sell for $1.4 million. © Condition of the house, Some homes are simply considered beyond repair. The bottom line is that sometimes, 22remodeling would cost significantly more than to start a new one, says architect James March Goldberg. « Historical significance, architectural appeal, and design factors also are considered. “If a house is innately charming - if it has wonderful exterior design scale and design or a wonderful interior - it’s a good candidate for remodeling’, Goldberg says VOCABULARY © oak cAy séi, g6 sdi « maple cAy thich, g6 thich « the trees have always been my weakness cay céi luén 1a su yéu thich cia téi « cost of remodeling chi phi cai tao lai, chi phi t6n tao lai « to meet building codes dap ting cdc qui dinh (luat phap) vé xay dung * by today’s standards theo nhiing tiéu chudn cua ngay hom nay e so high it makes more sense to demolish and start fresh cao dén néi ma pha di lam lai tv dau thi hgp ly hon « to incorporate features impossible to achieve through remodeling két hop duge nhiing dac diém khéng thé dat duge bang cach cdi tao lai * growing trend toward antiteardown khuynh huéng ngay cang tang khong pha bé nha ca «© awkward design thiét ké bat tién, thiét ké vung vé e narrow passage-ways 1éi di hep « outdated lac hau, léi thai 2324 plumbing dudng ong kj thuat (cung cdp nude, khi dét, thong hoi, ditu hda, thodt nude) ; to reroute plumbing : dat lai tuyén duéng 6ng ky thuat to go about adding on without totally gutting the house cé gdng thiét ké xay dung thém ma khéng phd hay téng thé bén trong ngéi nha some of the structural members mét vai b phan c4u tric to underdesign thiét ké chua déy da to be out of plump xiéu veo, khong thang dung, khong ngay ngan to put things in alignment would have meant taking the house apart s4p xép moi thi cho thingthan v6i nhau c6 nghia la phi thdo rdi ngéi nha ra by the time we had it straightened out cho tdi khi chung ta lam cho ngéi nha ngay thang lai the bottom line was ... diéu (quan trong) chét lai IA ... Victorian-style theo phong céch thdi Victoria (Ni hoang Anh tri vi ti nam 1837 dén nam 1901) cedar g6 tuyét ting (mém, khong muc) siding lop van go interior noi that excluding the lot khéng tinh tién dat country setting canh thon da out of nest da khon Ién, di ra 4 riéng master bedroom phong ngi chinh realtor (US) ngudi budn ban bat dong san postmodern adj (thuée truimg phdi) hau hién dai (két hop giita ci va mdi) lot manh dat, miéng dat spacious réng rai, réng lonapparent 16 rang, bay r6 ra ngoai core rudt, trung tam, cét Idi hallway hanh lang kiéu sanh ; I6i di (va0 cde phong va cau thang) tunnel duéng ham foyer 1) tién sinh, sinh ; 2) phong gidi lao (rep hat) diagonal oak flooring san lat van g6 sdi theo dubng chéo stairway céu thang, thang gac loft gac ling, gac xép ; loft office phdng gac ling sitting room phdng (tiép) khach pantry phong dé dé ding nha bép (bat chén, chan, thite an ...) kitchen phong bép, nha bép refrigerator ti lanh dining room phdng 4n cupboard ti, chan dé bat dia refractory table ban chju nhiét, ban chju ndng neoclassic (thudc trudmg phdi) tan c6 dién (thé ky 18 - 19 6 chau Au, c6 trang tri hinh ngudi hode manh thi) pillar cOt, tru 6p contrasting ceiling heights nhitng do cao tuong phan cta trén nha enclosed room phdng khép kin cost-effective co hiéu qua vé mat chi phi load-bearing wall tuéng chiu luc column cét beam dam, xa heating (hé théng) sudi 4m 25electrical wiring dudng day dién e backyard deck mai che san sau brick patio sin trong lat gach « there’s always room to host family visits from their 5 children and 8 grandchildren luén luén cd ché dé t6 chtte gap mat gia dinh cho cA 5 con cai va 8 dita chéu vé choi « parking lot ché dau xe « board fence hang rao bang van g6 « church steeple thép nhon (cia) nha thd e remodel or start fresh cai tao lai hay xay dyng (hoan toan) méi « to tear down old homes pha dé nhiing ng6i nha cii insulation céch nhiét ; cdch ly vi mdi trudng « energy-wasting window cla sé lang phi nang lugng (cach nhiét kém) « to be considered beyond repair duge coi la khéng nén stta chita * architectural appeal su hap din vé kién tric * innately charming 4m cting bén trong, quyén ra mot cdch ty nhién bén trong DISCUSSION 1. What distinctive features are seen when visitors are driving through one of Chicago’s North Shore suburbs ? 2. Should architects consider carefully when they’ve got contract of remodeling an old house ? 8. In what case architects would demolish old houses and build new ones ? 264. What are big problems for architects, who have been offered a contract of remodeling or expension of a house with awkward design ? 5. Why Goldberg and Downey decided to start fresh plan instead of remodeling ? 6. What kind of houses Tom and Katrina Kelly were looking for ? 7. Why did they fall in love with the house designed by Goldberg and Downey ? 8. What solution was applied by architects for a house to be built on a narrow lot ? 9. How first floor rooms were built by Goldberg and Downey, did they satisfy the new owners and why ? 10. Why there was some debate about a start fresh plan ? 12. What factors should have been taken into consideration when tearing down a house and starting fresh take place 27Lesson 3. SCENIC OVERLOOK AHEAD When a steep site yields an awe-inspiring view, the right architect can turn this problem into a panorama Architect Henry Fitzgibbon embarked on a mission to build a home on one of Portland, Oregon’s, most challenging sites : a steep slope west of downtown. Between its front and back property lines, the lot drops approximately 85 feet ; the ground beneath the house banks at a 45-degree angle. In addition, the site measures only 50 feet from side to side. Although the location poses building limitations, the view is unbounded : the twinkling lights of the downtown skyline at night, the blue ribbon of the Willamette River winding through the city, and Mt. Hood and the Cascades forming a backdrop in the distance. Fitzgibbon’s more immediate concern was the ground beneath his feet. Steel pilings driven as deep as 24 feet into the bedrock ensured a safe foundation. On top of the pilings, a welded steel frame supports the rear of the house and provides a framework for the three-story home. Owners Tom Graff and John Grant expected expertise in - steep-slope design from Fitzgibbon after seeing his work in other Portland neighborhoods. "We would drive around town looking for houses we liked and knock on the door to ask the owner about their architect". Tom says. Many of the houses they liked were built on slopes - and designed by Fitzgibbon. "The design of the house revolves around the clients desire to maximize the views to the east and northeast, which are spectacular’. Fitzgibbon says. Next-door neighbors block views to the north and south, and the west side of the house faces a rock bank across the street. Fitzgibbon placed all living space on the view side of the house, and left bathrooms, storage areas, and hallways for the side facing the street. 28Each room shares space with others. Several rooms adjoin the massive two-story living room, for example, and its 20 foot-high windows provide natural light and airiness for them all. A skylight and window over the stairwell bring light into the side of the house facing the street. Space is also zoned by levels. The first floor is predominantly storage and work space. The second, main level is the most elegant living space and is used for entertaining. The third floor houses the master suite and library loft. "The process of designing this house was pure joy", Fitzgibbon says, "The clients are creative people [Tom is a performing artist in local theater ; John is a computer programmer and photographer], and they appreciated the opportunity to work with the architect designing their house and to explore the meaning and value of architectural design. They were intimately involved in almost all aspects of the design, from inception through selection of artwork". Tom and John allowed Fitzgibbon considerable design freedom. “I feel if you hire someone for their creativity, you shouldn’t interfere with their talents", John says. "When Henry came back to us with the design, it was almost perfect. We made very minor changes just a detail or two", The sleek contemporary’s interior is constructed with a mixture of steel and wood. "I wanted to allow this dual structural system to express itself inside the house and, as a result, we used open-web steel joists to support the second floor and roof’, says Fizgibbon. "These steel joists, combined with the exposed wood decking of the surface above, lend an international flavor with a warm atmosphere. This is an appropriate feeling for a house that has such a unique combination of city and mountain views. Tom and John wanted a house that felt open and light, yet warm and friendly. The materials used and the basic structural system of the house support these feelings". 29Fitzgibbon designed the house for handicap accessibility for John. The house adapted easily to wheelchair access with the installation of an elevator. By reserv- ing a 7x5 foot space on each level near the center of the house, Fitzgibbon accom- modated the 3x4-foot cab, elevator shaft, and partition walls. A 6x8-foot mechanical room on the bottom level houses the elevator’s controls. "The elevator is an integral part of the building’, Fitzgibbon says. "Its doors look just like any doors". Wheelchair entrance into the house is through the garage ; the elevator, mechanisms, and shaft construction totaled approximately $25,000. Other rooms, such as the master bath, accommodate wheelchair use, too. Fitzgibbon also took the homeowners’ appreciation for art into account. Specific areas of the house serve as perfect niches and backdrops for sculpture and framed wall art. The fireplace, for example, incorporates a display shelf. The living room’s two-story walls provide a gallery for the ever-changing display of photography and paintings from the owners’ collection. Wing walls in the dining room display ceramics. Positioned between the living room and kitchen, the dining room is defined by a rectangle of carpet inset into the hardwood floor. Interior designer Phil Chek designed the dining room table from some 30 esr |e rH caarrs OFFICE Ht “LOWER LEVEL UPPER LEVELof the site’s leftover construction materials. The chairs and tables in both the living and dining rooms are hand-painted by a local artist. : Perhaps the most impressive works of art in the house are the windows. Custom-designed stained-glass panels featuring a city skyline motif echo the house’s high-tech look. Incorporated into the front door, windows facing neighboring houses, and panels in the dining room buffet adjoining the kitchen, the stained glass allows light to enter but maintains privacy. A library loft, on the upper floor overlooks the living room and entry inside and the spectacular scenery outside. A glass door opens to an exterior balcony. Located above the kitchen, the master bedroom furnished in restful hues - has access to the loft balcony. To complete their new home’s look, Tom and John collaborated with interior designer Phil Chek to choose furnishings. "We custom- designed each piece for the house, and the main criterion the clients gave me was: We want things that are fun and whimsical and that make us laugh", says Chek. From the furniture to the framework, Tom and John built a house they could appreciate even after the sun sets on their stunning view. VOCABULARY e overlook canh quan sat tit trén cao xuéng ¢ a steep site yield an awe-inspiring view mot ché déc tao ra m6t phong canh gay ron tée gay * panorama toan canh ; cdnh cé tém nhin rong khdp ; quang canh tam rong « to embark on a mission bdt tay vao (thyc hién nhi¢ém vu) 3132 challenging site hién trudng day thach thie between its front and back property lines, the lot drops approximately 85 feet giita hai duing méc truéc va méc sau, khu dat ha dé cao gan 85 feet. from side to side tit ben (canh) nay t6i ben (canh) kia although the location poses building limitations, the view is unbounded tuy vi tri nay tao nén nhitng han ché vé xay dung, canh vat lai khong bi han ché ribbon dai, bang backdrop phong, nén, cinh nén, phong cdnh d phia xa concern méi lo ngai, sy quan tam steel piling van cit bing thép bedrock dé géc, dé nén safe foundation mong an toan welded steel frame : khung thép han rear phia sau, ding sau ; hau phuong slope sun déc the design of the house revolves around the client’s desire thiét ké ngoi nhA xoay quanh mong muén cla khéch hang to adjoin néi tiép, tiép vao ; ké (véi), tiép gidp (vdi) airiness su thodng gid, su long gid skylight cita kinh (dy anh sang) trén mai stair well (= stair pit) h6 thang, giéng cfu thang A skylight and window over the stair well bring light into the side of the house facing the street cia sé va cita mai phia trén hé thang lam sang siia phén quay ra dudng cia ngoi nha storage and work space khong gian dé chia va lam viée3-THTA living space khodng khong gian sinh hoat, tiép khach entertaining gidi tri master suite cin buéng rong (cd cd khu vé sinh hoan chinh) library loft gac xép lam thu vién inception sy bat déu mixture hén hgp, sy hoa tron dual structural system hé théng két cdu kép (gém hai vat ligu chinh 1a thép va gé) open-web steel joist dim sAt 10 rd canh web than cia dim chju Ic (phin giita cia cée dai gian hoge vanh go cita dim) deck san wood decking phén méi bing (dé ngdi choi, ) bang gé, san mdi to lend an international flavor tao thém huong vi phang phat (ki€u cdch) quéc té for handicap accessibility danh cho ngudi tan tat di lai duge wheelchair xe lan, xe d&y tay (danh cho ngubdi tan tat) the house’ adapted easily to wheelchair access with the installation of an elevator véi viéc l4p dat mot thang may, ngdi nha tao diéu kién dé dang cho xe lan (xe déy tay) tiép can elevator shaft giéng thang may partition wall tudng ngan elevator’s controls may méc diéu khién thang may to accommodate wheelchair use dude thiét ké dé sit dung duge ca xe lan niche h6c tungbackdrop phong, nén fireplace lo sudi display shelf gia (dé dd) trung bay wing wall tung c4nh, tuéng chai nha ; wing walls in the dining room display ceramicstuéng canh 6 phong an dé 16 gém 6p leftover construction material vat ligu xay dung con thita, vat liéu x4y dung chua st dung hét high-tech look ky thuat cao, dang vé ky thuat tan ky to custom-design thiét ké riéng (cho mot hode mét nhém nguoi) custom-designed stained-glass panels featuring a city skyline motif echo the house’s high-tech look nhiing panen ctta kinh mau duge thiét ké riéng (cho chi ngdi nha) lam hién ré motip dutng hinh khéi cia thanh phd trén nén trdi tiép néi hda hop v6i phong cach ky thuat tan ky cia ngoi nha to have access (to) cd I6i di téi, tiép cn vdi loft balcony ban cong gic xép criterion tiéu chi, tigu chudn DISCUSSION oF What kind of sites architect Henry Fitzgibbon embarked on a mission to built a home on ? 2. . What was the immediate concern of architect Fitzgibbon ? . What kind of foundation had been built ? . Why Tom and John hired Henry to design their home ? . How did the architect plan for the house ? 2a w Describe the site more detailly.7. What did home's owners explore when they had opportunity to work with the architect designing their home ? 8. Why did home’s owners Tom and John allow the architect considerable design freedom, and what design had they got from the designer ? 9. What kinds of materials were used for interior coustruction ? 10. What was taken into consideration when Fitzgibbon did interior design ? 11. Describe the most impressive works of art in the house. 12. How did Tom and John collaborate with the interior designer to choose furnishing for the house ?Lesson 4. MODESTY ON A GRAND SCALE First came the baby Then came plans to expand the Tudor-style house these busy parents owned in sub- urban Chicago-and all the headaches that go along with auditioning builders, checking references, viewing projects, and critiquing plans. That, however, was before they walked through this Cape Cod style house. A contemporary surprise package wrapped in tradition, the home is located perfectly for outdoor living and recreation but is still an easy drive from the city where they work. The 3,420-square-foot house features a level of interior detail that’s uncommon even in far more expensive homes ; exquisite moldings, true divided-light windows, rich maple and marble floors, solid-surface counters, and cherry cabinetry down to the finished basement. The myriad upscale design details in the home reflect the "cry of the 90s", says the home's architect/builder Rick Swanson of RM Swanson & Associates in Lake Forest, Illinois. 36"People don’t want big houses with chintzy trim. They want smaller, smarter houses with nice amenities - things they had to compromise on, more or less, when they built bigger homes. They don’t compromise anymore. They say: “Instead of building a 5,000- square-foot house with fewer amenities, we’re going to build a 3.500-square-foot house," Swanson says. From the street, the home’s clean, simple lines, classic Proportions, charming dormers, restrained color, and natural stone give it a snug, timeless look. There are no trendy Palladian win- dows or quirky embellishments such as turrets to mire it in ’80s eclectic style. No massive roofline jars the landscape or eclipses green-space views. Swanson says this Cape Cod and other homes in the development mark a return to “purist architecture" and a classic Midwestern design spirit. "It stands the test of time’, he says, "Ask someone who lives in a contemporary house built in the ’70s how easy it is to sell in the 90s. It’s the Andy Warhol theory : It’s cool for about 15 minutes, then it’s all downhill from there’. An increasing number of Swanson’s baby-boomer clients want “the warm and fuzzy feeling" of traditional-style homes such as this Cape Cod. He even sees porches - the architectural touchstone of simpler times ~ making a comeback. Compared to the ostentatious homes of the 1980s, this home’s exterior styling is almost humble. Looks can be deceiving, though. Although smaller than some of its neighbors, this Cape Cod has a grandeur of its own. The inside provides visitors a grand reception. A dramatic staircase with a cherry banister sweeps up from the foyer to a Juliet balcony and the turns off on both sides to two private bedroom suites on the second level. "Most people are blown away by it when they walk-in... It’s something you’d find in some of the more grand homes in town", says Swanson. 37From the foyer, guests can see down twin hallways into the great-room and through the windows overlooking the backyard. Off one hallway is the main-floor master suite and library. "The idea was to open the foyer up so that you felt you could flow into each room. One thing I don’t like about some houses is you walk in and look right into the family room", says Swanson. In place of a living room, the owners wanted a less formal space with warmer colors and fabrics, a convivial stage for their favorite get-comfortable furniture. The flexible, contemporary floor plan made it easy to recast the sunken living room as the great- room. Open to the foyer via twin hallways flanking the stairs, the sunken greatroom derives its airy appeal from a crisp palette and its architectural character from lofty beams and space-defining arches and columns. Arched openings, columns, a lofty ceiling, and a traditional fireplace add to the great-room’s European look, and steps separate it from the foyer and dining room. Maple floors are used throughout the house. Swanson designed the rooms with plenty of windows and easy oom-to-room flow that creates the perception of extra space. "Because they're open to one another, they help each other to feel big and live big. It’s tough to do houses today or sell houses today that have defined rooms". Swanson explains. "It's kind of a California thing where it’s all open ~ the kitchen to the breakfast room to the family room. Everybody lives in those areas". A bay window in the breakfast area overlooks the garden and neighboring golf course. True to the architect’s philosophy that a great-room needs something great besides a fireplace, this gazebo- shape bay is perfect for a sitting spot, a piano, or the Christmas tree. A cathedral ceiling with drywall beams and 48-inch-high, transom-style windows are only a couple of the special effects in this hardworking space. 38No fan of hanging light fixtures that clutter views. Swanson illuminated the kitchen breakfast nook with 24-inch canister lights in the ceiling and dimmable incandescents atop the cabinetry. Low- profile lighting is tucked into a stepped-down ceiling in the dining room and into the tray ceiling in the master suite. The 4x6-foot kitchen island holds a six-burner cooktop. "You can cook and sit right at the island, and talk and eat,” says Swanson. "It’s a nice, intimate, usable little space. If you put a cooktop on a normal-size island, you wind up with no place to set anything". The oversize island makes the sun-filled kitchen a paradise for this family that loves to cook, and there are plenty of perches for casual meals, television viewing, and everybody-pitch-in dinner parties. In the formal dining room stepped ceiling details and recessed lighting create a contemporary feel, while stepping up the floor level makes the space more intimate. To the left of the dining room is a gallery hallway for artwork and family portraits. From the kitchen or the dining room, you can step out onto the patio and relax to the outdoor sound system. With the gazebo- style bay on one side balancing the breakfast room bay on the other, the patio is wrapped in privacy. Focused on outdoor living and panoramic views of the golf course through expansive bay windows, the home’s rear exterior enjoys the same attention to balance and detail as the front. "One of the nicest compliments we've been paid is the back of the house looks just as nice as the front of the house’, Swanson says. The Cape Cod, like the other homes in the development, backs up to the golf course. A "Hollywood facade’ with the finest features on the front just wouldn’t play here. 39"We were sensitive to proportion and balance and paid attention to the rear, side, and front elevations on an equal basis ..." Swanson says. "That seems to be something that this development and many people are looking for". VOCABULARY ¢ Tudor-style adj theo phong céch (kién tric) Tudor, kiéu truéng phai Tudor e and all the headaches that go along with audition- ing builders, checking references, viewing projects and critiquing plans va t&t cd nhitng su dau dau (diéu lo nghi) gén lién véi viéc nghe ngéng nhitng nha xdy dung, kiém tra céc thong tin tham khdo, xem xét céc d6 4n va phé phan gop y cac so dé quy hoach. « Cape-Cod style house nha kiéu Cape Cod (nha khung chit nhét 1,5 ting cé mdi déc, thudng khéng cé cita mai, lop bang céc tém gé. Tén goi nay bat ngudn tit Cape Cod, bang Massachusetts thoi thudc dia) e A contemporary surprise package wrapped in tradition mét khéi hién dai dén ngac nhién boc trong céi vé truyén thong e (an) easy drive (mt) doan dudng dé di lai bing oto « the house features a level of interior detail that’s uncommon even in far more expensive homes ngoi nha thé hién mot mtic dO chi tiét ndi that khong dé co ngay cA déi véi nhitng ngéi nha dat tién hon nhiéu «© powder room : 1) phong toalet nhé 6 téng 1; 2) phong nhé ding cho vé sinh phy nit (thuong 6 trong phong toalet nit) © exquisite thanh td, thanh nha « molding duing gd trang tri, duéng vién, dudng chi 40divided-light window cita sé léy anh sang cd nhiéu 6 counter : (mat) bé ; quay. ghi-sé, bé bép cherry cabinetry ti g5 anh dao myriad v6 s6, vo van “ery of the ’90s" "mét thdi thugng cia nhitng nam 90" chintzy hoa ho hoa s6i trim chi tiét két cau gd, vién g6 dormer cita mai ; cia sé mai snug 1) adj &m cting, gon gang ; 2) n ché khudt riéng, phong nhé riéng biét trendy theo trao luu, theo mét Palladian window ctta s6 kiéu Palladio (kién tric su La Ma thoi Phuc Hung) (réng, duge chia bdi cét khung thanh 3 6 chiéu sdng ma 6 giita rong hon hai ben, doi khi c6 cudn 6 trén) quirky kiéu cdch, ky cuc turret thép nhé to mire lam b&n, lam x4u eclectic chiét trung ; cdp nhat ; lai tap, hé lén to jar khong hda hop, mau thudn to eclipse che khudt, lam lu ma “purist architecture" kién tric thanh tinh, kién trac thudn khiét baby-boomer client khach hang thoi ky "bing né sinh con dé cai" porch céng to make a comeback quay tré lai (ndi v8 xu thé, mét ...) grandeur sy cao sang, vé huy hoang dramatic staircase cfu thang déy an tugng nghé thuat 4142 banister (= baluster = bolster) 1) con tién chéng tay vin cu thang; 2) tay vin cdu thang Juliet balcony ban cong kin (cé mdi che, c6 cita kinh bao kin) to turn off on both sides ré ngoat sang cA hai bén bedroom suite phdng ngi cé khu vé sinh hoan chinh (phang tam nha vé sinh) entry I6i vao to be blown away (tiéng long My) sitng s¥, sing sét to recast phan chia lai, tinh toan lai sunken thdp xu6ng, tring; sunken living room phong khach cd cao dé thép hon nén (cét 0) the sunken great room derives its airy appeal from a crisp palette can phdng lén tring xuéng dat duge sy thong thong hap dan tix cdc 16 thong gid mat mé lofty cao arched opening khodng khéng do mai vom tao ra, khong cd cot xen vao breakfast room phong an sing bay window cia sé xay nho ra ; phan nha co ctta sé xay nho ra golf course san (choi) gon gazebo 1) nha mia hé ng4m canh, vong lau 2) ban cong kin (cé mdi che, cita kinh) nho ra ngoai gazebo-shape bay, gazebo-style bay ban cong hinh vong lau nho ra drywall tudng khong cé vita, tuang xay kho (bang thach cao hoe gé dan ...) transom-style window cifa s6 kiéu cs dé ngang fan of hanging light fixture quat trén od kem bd dén treo« to clutter view can tré tém nhin « to illuminate roi sang, chiéu s4ng * nook géc thut, géc riéng (ctia can phong) « kitchen breakfast nook goc an s4ng cia gian bép e canister light dén ldp chim vao tran nha (trong hom) e dimmable incandescent dén sgi d6t véi bo diéu chinh d6 sang e low-profile lighting su chiéu séng ém diu (khéng dé 16 nguon sang gat), hé thong den én e to be tucked duge gidu kin step-down ceiling trén dat cép (cao dé tig phan thay doi) ¢ six-burner cooktop bép cé 6 ché dun e kitchen island bé bép, cing la ban an (x@y dung tich roi_khéi tuong) © perch ché trén cao, buc cao « everybody-pitch-in dinner party an lién hoan cd dong da moi ngudi, cudc ché chén déng ngudi an © patio san trong (lat dé, cd bong ram, lién nha) e to pay attention to the rear, side and front eleva- tions on an equal basis cha y dén cdc hinh chiéu ding mat sau, mat bén va mat truéc nhu nhau DISCUSSION 1. What style had got the owner’s home originally ? 2. What style had been replaced for the old style when the architect designed the new house ? 3. What kind of house do people want nowadays ? 4. What does the Cape-Cod style house look ? 435. What did architect Swanson say about the Cape-Cod style ? 6. What material had been used for construction of porches ? 7. How do visitors feel when they pay visit to Cape-Cod ? 8. How did architect Swanson make floor plan for this Cape Cod ? What was the main idea about it ? 9. What style of ceiling, windows was applied ? 10. How the kitchen island was illuminated and why it had been chosen by architect/builder ? 11. Why did Swanson plan big kitchen island? Is it comfortable for use ? 44Lesson 5. CONTEMPORARY COTTAGE Connie Brown and George Brostoff were trapped between two worlds. They wanted to transform George’s lakeside house in Dexter, Michigan, into a year-round home with contemporary styling. The community, afraid of losing its resort. character to overbuilding, barred George and Connie from expanding beyond the home’s original foundation size. In addition, renovations that George had made after buying the house a decade earlier were aging poorly. The more preparations the couple made to replace cracked tile and buckled wood floors, the more problems they uncovered - right down to a soggy crawlspace built atop loose marl. What had started as a floor replacement ended with removal of almost everything. By the time Connie and George called in Neumann/Smith and Associates for design help, they had stripped the exterior and gutted the interior, recalls architect Ken Neumann. "There was almost nothing left of what had once been a tiny little house on the water’, says Neumann, who worked on the redesign with partner Joel Smith. "A good stiff wind would have taken it all down". For the exterior, Neumann and Smith started with cedar shakes finished with a mixture of conventional and bleaching stain for an instant weathered look that will continue to gray evenly over time. A copper-clad chimney matches the new untreated copper roof with concealed eaves. A brick walkway bordered by simple, white light fixtures connects the house to a garage at the front of the narrow, 50 x 300-foot lot. Departing from the cottage theme, Neumann and Smith graced the entrance with a curved pergola supported on pine beams and four sand-blasted concrete pillars. 45With the exterior in the good graces of the neighborhood, Neumann reorganized the 1,800-square-foot interior with more contemporary goals in mind. "With such a small house, we needed to make every square inch of it work", he says, comparing the process to designing the inside of a submarine. "A submarine is so confined that it requires a much more intense orientation toward detail to make every inch count", The nautical analogy is appropriate : A boat builder who was creating a custom craft for George at the time suggested the bubinga wood cabinet that anchors the first floor. The roughly 6x19-foot cabinet, trimmed with bird’s-eye maple wood, encloses a display niche and stairs to the second floor - and makes up one kitchen wall. This island of rich woodwork rising above the light maple floor helps define most of the main-level spaces. The floor is no less remarkable than the bubinga cabinetry, just more subtle. Moisture and climate changes threatened a repeat of the flooring problems that sparked this remodeling project. Neumann used a variation of boat decking to keep the floor stable. Plywood planks were glued on top of each other with the grains running at right angles for greater: stability. Clear maple glued to the plywood base tops the floor. Beyond the foyer in this sea of warm wocdwork, the kitchen area emerges to the right - an awkward introduction to most houses, but not this one. This kitchen disappears into the woodwork-lirally. Kitchen cabinet doors meld into what looks like a wall of bubinga paneling. The built-in refrigerator has matching doors, adding to the seamless effect. The dishwasher also blends into a separate bank of cabinetry surrounding the sink, leaving only the granite-top island to call attention to the room’s identity. A washer and dryer - both designed for quiet operation - tuck behind a set of doors in the kitchen. "You don’t see it, and you don’t hear it when it’s operating", says Connie. 46Cabinet knobs and drawer pulls would have interrupted the clean lines of the cabinetry, so doors are fitted with convenient touch latches. For example, nudge the cabinet door beneath the sink with your knee and the door unlatches. Push it open further and the wastebasket under the sink, slides out with no bending, fumbling, or wet hands on the cabinet doors. Such now-you-see-it, now-you-don’t features are scattered throughout the main floor. Instead of losing space to a formal dining room that Connie and George would seldom use, the dining room table folds away into the curved buffet near the entrance. Retracting the table saves space. Extended, the table has sufficient seating for small dinner gatherings. Two columns - both critical structural supports — challenged the architects. To incorporate the columns into the contemporary design. Neumann and Smith covered the poles with polished stainless steel and used them as table supports. For a splash of color against the neutral-color wood floor, the architects created a rug of cut and looped, wool pile with blocks of green, purple, yellow, and red. The home has a contemporary feel inside, but not because it’s decorated with technology - just the opposite. George believes home electronics should be heard and not seen, so the cabinets conceal a sophisticated stereo system and projection TV. The stereo components were built into a cabinet where pieces of the system can be updated with minimal fuss. Most of the speakers are built in, and the remaining pair of freestanding speakers in the living room were made with bubinga cases. "They’re so much a part of the decor that you don’t notice them". Connie says. "If it’s all set up correctly, there’s no reason why the electronics need to be exposed”, 47The television is equally well-concealed. The projection unit tucks away inside the glass-top coffee table, and the screen retracts into a hidden recess in the ceiling above the fireplace. When George and Connie want to watch television, the projector pops up from the coffee table and the TV screen drops down from the ceiling A sensor in the wall receives signals from a remote control that operates all the electronics. "The owners have a terrific eye for fastidiousness", Neumann says. "Their sentiment was to like things that were very well thought out". Neumann’s talents for space-efficient planning didn’t stop on the first floor. The roomy master bedroom has two closets, but that’s just the staring point for storage. Beneath the stairs leading to the loft office over the bedroom are six extra-deep drawers. The 4-foot-long drawers slide out on heavy-duty glides. A bank of smaller storage drawers and display nooks follows the slope of the stairs. The smooth fronts merge to create the appearance of paneling. The opposite side of the room holds more storage drawers in a stairstep layout. "It worked out better than we expected with everything built in", Connie says. "For the size of the house, we have a lot of storage space. Our cabinets aren’t bulging at the seams". A wall of picture windows in the bedroom draws light in from the second-floor deck. The loft office occupies former attic space that was expanded by raising the roof. Clerestory windows facing the rear, along with skylights, further brighten this already cheerful space. The loft makes use of what would otherwise have been wasted space under a vaulted ceiling. "The volume was there for this room, and there was no reason to have the bedrooms quite 48so lofty", Neumann said. "Why not slip a little office in under there?" Between the teak top rail and the floor are lines of vinyl-coated stainless-steel wire held taut by turnbuckles. The railings work with the loft’s airy atmosphere and repeat a design theme used in the rear decks. The interior and exterior railings preserve the view of the lake beyond the backyard. Not surprisingly, Connie and George spend most of their time where the views are best ~ the living room and master bedroom "You can live in this house", Connie says. "It’s not designed to be a showplace that nobody can use’. By knowing what they wanted, Connie and George also made Neumann’s job easier. "The clients worked very hard together with us", Neumann says. "There was a tremendous rapport, and that team effort created something very special. That’s the only way it could work". VOCABULARY © cottage ngdi nha (6 néng thon, ...) e lakeside bén hé « community cong déng dan cu (sd tai) e resort noi nghi mat © overbuild xay qué giéi han « to bar (from) ngan (khéng cho) e cracked tile ngdi (lgp) bi ran nit © buckled bj cong vénh * crawlspace 1) khong khong gian bd, khoang khong gian trudn (han ché v8 do cao nhung cé thé bo vao dé lap dat duong Ong ky thudt, day dién . ..) ; 2) ting ham (6 duéi sin ting trét, c6 méng tung bao quanh, cé do cao thép hon mé6t tng trén mat dat) 4-THTA 4950 marl (dat) sét voi (hén hop dat sét va cacbonat canxi) soggy crawlspace built atop loose marl tang ham 4m thap xay trén l6p sét voi long Iéo to strip the exterior bdc bé phén bén ngoai to gut the interior pha bé phén n6i that shake van (g6) ché, gé van (ché va déo bang dao) to finish hoan thién bleaching stain vét bac mau (do chudi copper-clad boc déng eaves méi chia fixture dé ga, light fixture bo den (dé gid lap dén vao tuong) to grace lam dep cho, lAm duyén dang cho pergola dan (cho) cay leo pine beam dam gé thong to sandblast vt ban cat lam nham (62 mat béténg, kim logi ...) concrete pillar c6t bétong submarine tau ngim bubinga wood panel caéc tém gd bubinga (thudng 6 chau Phi mau dé hoge tim) island ban bép (cing la ban an dat gitta gian bép hay tach roi hoi tuong bép, ndu cée mén an dét 6 gilta va nguoi an ngdi xung quanh) Medieval architecture kién tric thoi Trung c6 island of rich woodwork rising above the light maple floor "6c dao" toan bing gd (ban bép dat giita gian bép, dong thoi lam ban an) nh lén trén nén san bang g6 thich nhe main-level space khong gian 6 tang chinhdecking n 1) van gé lat san (= plan king); 2) kim loai tam dap, gan dang sdng cho cing dé lop mai; 3) panen dé lop mai niche héc tudng plywood plank tém van gé din plywood planks were glued on top of each other with the grains running at right angles for greater stability nhiing tém van g6 dan dugc gin keo chéng lén nhau theo thé vuéng géc vdi nhau dé dat do 6n dinh cao to top the floor 6 phia trén cing cia san, tao thanh l6p trén cing cha san woodwork 1) phan méc (eda céng trinh), cong viéc méc ; 2) dé dac g6 (gén litn vi céng trinh) seamless khong co duéng n6i, khong cd vét ghép to tuck chui vao, rac vao ; nép vao knob n4m dam ctfa, tay ném cita drawer pull tay ném ngan kéo touch latch chét chim cham vao 1a ty mé, then chim to nudge an nhe sink bén ria, lavabé to unlatch mé chét, thao chét rug tém tham nhé wool pile len co tuyét, len nhiéu long to decorate trang tri to be built in lip chim vao trong, dat chim 4 trong: built-in refrigerator ti lanh dat chim fastidiousness st’ kén chon, sy kh tinh roomy rong rai, thoing dang master bedroom phong ngi chinh space-efficient planning thiét ké hiéu qua vé mat 51khong gian, thiét ké khong gian higu qua « picture window giai ctta sé kinh cé dinh dé ngém canh dep nhat 6 ngoai e loft tang nam gitta mai va san; loft office phong lam viéc, tang tran e attic phong xdy trén mai dua « clerestory/clearestory phan trén cing cia tung bé try véi céc cita sé dé lay anh sing © bulging I6i ra, phéng 1, our cabinets aren’t bulging at the seams céc can phdng cla ching t6i khong Idi ra 4 dutng bao vaulted cong, cudn « to be held taut by turnbuckles duge giit cang bang céc b6 dai 6c siét néi DUSCUSSION 1. What did George and Connie want to transform George’s house into ? 2. What style did they want to build the house with ? 3. What were people afraid of ? 4. What had architects done with the tiny house ? 5. Was there anything when architects stripped the exterior and gutted the interior of what once was a house ? 52 6. What kind of material was used for the exterior ? 7. How did architect Neumann replanned the interior ? 8, How was the kitchen reorganized and rebuilt ? 9. Did architects make every inch count and why ? 10. How the floor of the kitchen was built ? 11. Did architects remodel the floor and why should they ?12. Why two columns challenged the architects, and what was acceptable solution for them ? 13. How George made a contemporary feel inside the house ? 14. How did Neumann plan roomy master bedroom in order to save space ? 15. What purpose did Connie and George spend most of their time for ? 53Lesson 6. CHOOSING EXTERIOR COLORS The hues you paint your home's exterior should reflect both its ar- chitecture and your personal taste For some homeowners, choosing an exterior color may be a difficult process. Overwhelmed by the selection, many opt for riskless white, preserving its long-standing title as the No.1 color sold for home exteriors. Neighborhoods 30 years ago were row after row of white houses. Today, only one in three homes is white, as homeowners branch out and try color. But additional colors also mean more decisions about how to best accentuate your home. When the move away from white began, homeowners started exploring the neutral palettes of ivories, taupes, and grays. Once considered colorless, neutral earth tones provide sophisticated exterior color schemes. Building contractors and real estate agents have discovered that inviting, pleasant earth tones attract potential buyers. They maintain these warm colors sell homes quicker than the cooler blue and green shades. Skeptics say curb appeal and a well-maintained home are more important, however, and cool hues remain relatively popular. Throughout the United States, climate and tradition have created geographical pockets with specific color personalities. In certain areas, weather and quality of light affect color choices. For example, beneath the intense sun in southern climates, stronger and brighter colors look appropriate. In northern states, the same color would be an eyesore against the cooler, less intense sun. Likewise, deep colors are not used in southern regions because they do not reflect heat and may fade. Putting aside these practical restrictions, some colors cross these traditional geographical boundaries because people in thismobile. society absorb trends and take colors with them. Today’s homeowners choose color more to complement their home’s architecture and their personal taste than according to regional traditions and climates. There are no set rules on the number of colors to use on a home. An average home features three, but two or four colors can also be acceptable depending on style and elements of interest. Victorian architecture, for example, requires more color combinations in a con- trast of hues and values to show the detail and to showcase the gingerbread frills. A traditional exterior color combination consists of the body, trim, and accent. The dominant and largest area, or body, is the principal structure of the home. Trim color is the detailing around the windows, doors, and roof edges. Accent color introduces a splash of color at the entrance, on shutters, and on window boxes, bringing all colors together. An elegant - and probably the easiest - approach to body and trim paint color is the tone-on-tone combination, which uses the same color for body and trim but in different shades. For example, in a five-color sample strip from the paint store, the body could be the fourth deepest shade and the trim the second lightest. For highlights, an attractive accent color can be added to the entryway or other noteworthy architectural features. When considering body and trim color, consider how it will affect the structure. A ligh-color body can make a home appear larger, while a darker shade would give the same home more a compact look. The same goes for trim color. It can be lighter or deeper than the body, but should complement architectural detailing and maintain the continuity of the house. SELECTING YOUR COLORS The first step : Walk across the street. Study your home’s features with a critical eye. Note areas such as brick, stone, and 55shingles that have an important color influence. Then, study any architectural detailing you wish to emphasize. As a unit, the structure should have balance between the brick, the body color, and ar- chitectural detailing so they harmonize instead of competing for attention. And don’t forget location. New color shouldn’t compete with nature or neighbors, but should enhance the surroundings. On your way to the paint store, drive through several neigh- borhoods. Study the homes and get a feel for what color combinations could work on your home. Try combinations by purchasing ‘small quantities of the colors and painting sections of your house. It is much easier (and cheaper) to repaint a section of a wall and trim than the entire exterior. At the paint store, confused homeowners may benefit from preselected color schemes. Ask whether the paint manufacturer offers any suggested combinations to aid in your selection. If the decision becomes overwhelming, a paint contractor can be a priceless resource. Survey friends, builders, and paint stores for names of reliable painters. Then, investigate their work experience and reputation. A good paint contractor will have a well-defined sense of color and offer valuable guidance toward appropriate color combinations. Once you’ve made a decision, remember that paint is meant to preserve and protect the surface from the elements. Wood products are especially prone to moisture damage and will deteriorate rapidly if not protected with paint. Whatever the color, paint serves a practical purpose as well as a decorative function. VOCABULARY * colour (Anh) = color (Mj) mau séc; bright color mau s4ng, mau ryc ré; light color mau nhat; deep color ‘mau téi, mau s4m 56hue (d6 sang cia) mau sic; cool hue (s4c) mau diu, mau mat mat overwhelmed by the selection, many opt for riskless white, preserving its long-standing title as the No.1 color sold for home exteriors khong ty quyét dinh dugc trong viée chon mau, nhiéu ngudi danh chon mau trang vo thuéng vo phat, khién no tré thanh tht mau ban chay s6 mOt trong mot thdi gian dai danh cho mat ngoai ngdi nha neighborhood nhiing nha ké nhau to branch out chuyén huéng, mé rong (pham vi quan tam, kinh doanh ...) to accentuate your home lam néi bat ngdi nha cia ban the move away from white xu huéng tit bé mau tréng neutral palette of ivories, taupes, and grays bang/gam mau trung tinh (g3m cde mau nga voi, ghi xém va nau) earth tones cac gam/séc thai mau dat real estate agent ngudi kinh doanh bat dong sin curb 1) 16 duéng, via ha; 2) sy han ché, kim nén to fade phai, bac (mau), ma di set rules qui dinh han hoi, qui dinh 16 rang gingerbread frill kiéu cach loé loet, diém dia a traditional exterior color combination consists of the bady, trim, and accent mét té hgp mau ngoai that truyén théng bao gém mau chi dao, mau phy (vién) va mau nhén (6 diém thém) body than nha, body color mau chi dao (son than nha) trim phdn khung (khung cia hode cia sé, lanh to, d6, ria mai, gd tong ...), trim color mau son vién, son b6 5758 accent color mau nh4n (son diém xuyét ...), mau to diém them splash of color dém mau, vay mau tone-on-tone combination sy két hop gam/ tong mau dam nhat khéc nhau for highlights dé lam ndéi bat noteworthy architectural features nhiing dudng nét kién tric dang chi y compact look dang vé gon nho shingle tém lgp to enhance dé cao, ton cao, nang cao to harmonize lam hai hda ; hda hgp, hai hoa (véi nhau) to benefit from preselected color schemes co thé stt dung (lgi dung) c4c phuong 4n mau da chon sin reliable painter thd son/quét voi dang tin cAy a well-defined sense of color mot sy nhay cam vé mau paint is meant to preserve and protect the surface from the elements son phai bao vé va gitt gin bé mat khéi cdc yéu t6 (cha méi trudng) wood products are prone to moisture damage céc phan (d6) g6 dé bi hu hai vi am to deteriorate giam chat lugng, héng di DUSCUSSION 1. What does body color mean ? Where is it applied ? 2. What does trim color mean ? What is it used for ? 3. What does accent color mean ? What is it applied for ? 4. What does splash of color mean ?5. What does tone-on-tone combination mean ? 6. Why may choosing an exterior color be a difficult process for homeowners ? 7. Which color was predominatingly chosen for painting houses 30 years ago and why ? 8. How do modern homeowners select paint color nowadays ? 9. What has been discovered by building contractor and real estate agents ? 10. Why deep colors can not be applied for southern regions ? 11. How many colors can be used for an average home ? 12. What does the traditional exterior color combination consist of ? 13. What is the first step for selecting your colors ? 14. What many confused homeowners do at the paint store ? 59Lesson 7. HOUSE OF ORANGE Margam Orangery was built in the late 1780s by Thomas Mansel Talbot, a descendant of Sir Rice Mansel, a distinguished soldier under Henry VIII, who had purchased the mediaeval Cistercian abbey of Margam at the time of the dissolution of the monasteries. The successful cultivation in Britain of orange trees also dates from Tudor times and Thomas Talbot inherited a superb collection of orange and other citrus trees at Margam Park, along with the estate and the now vanished Old House which his Mansel ancestors had originally converted out of the domestic buildings of the Abbey and which he was to demolish. It was replaced with a new house, Margam Castle, designed in Tudor Gothic style by Thomas Hopper (1776 - 1856) in 1830 - 35 and completed under Talbot’s son Christopher Rice Mansel Talbot. It was this Talbot whose extensive landholdings enabled him to take advantage of the growth of industrial development in South Wales ; he was, among other things, responsible for the promotion of a new harbour, named Port Talbot after him. The new owner of Margam had been, in 1768, on a Grand Tour of Europe and, while travelling in Italy, was able to experience not only its classical Roman architecture but the way in which orange trees flourished in the Mediterranean climate. Both of these interests came together in the building of the Margam Orangery to replace the existing greenhouses on the estate, which were in poor condition. The result is one of the most magnificent eighteenth century buildings in South Wales, an area not particularly well endowed with major examples of architecture in the classical style. It is a garden building on an unusually lavish scale, 100m long (over twice the length of the sightly earlier Orangery in Kew Gardens), its stone facade a carefully planned contrast of smooth 60ashlar with the vermiculated stone which picks out the 27 round headed windows (designed to let as much light as possible into the interior). Each end is neatly closed by a pedimented pavilion with Venetian windows (designed originally for the display of Roman antiquities brought home by Mansel) and the five central windows of the front elevation project slightly and are emphasised by the garlanded bucrane carvings on the roofbreak above them. The total effect is of "the finest building of its period in the whole of South Wales’. The Orangery was designed by Anthony Keck (1726 - 1797) who worked mainly in the West Midlands during the latter part of the eighteenth century ; he also designed Penrice Castle for the same Thomas Talbot on his other South Wales estate at Pen- rice during 1773 - 1780. Internally, the west (or library) pavilion was elaborately decorated with a plaster-work frieze of lamps and griffins, furnished with bookcases and equipped to display vases and models of Roman buildings. The less elaborate east pavilion housed Roman busts and statues, some original, some copies. (The Margam collection has now been dispersed). The main part of the Orangery was designed as a high, narrow room - only 9.15 m wide — to provide the best possible indoor growing conditions for citrus fruit trees. It was heated by underfloor flues from fireplaces set in the rear wall. Margam remained in the Talbot family until the second world war, when the Government requisitioned the Orangery and part of Margam Castle : three years later the estate was sold when the last resident heir decided to return to his other properties in Scotland. During the war the castle became derelict. 61In 1973 the estate came into local authority ownership and work began on the creation of a country park for the South Wales industrial belt. For some time the Orangery had been in a bad state of repair (internally a mass of scaffolding was required to support the sagging roof trusses) and in 1974 the Carmarthen office of Alex Gordon and Partners was commissioned for a £ 445, 000 restoration programme which was completed a year ago in April 1977. This involved returning about a third of the building to its original use as an orangery entered from the eastern pavilion, while the rest was to be available for public functions, such as conferences, concerts and exhibitions, with access from the eastern pavilion. The present orangery (in which trees are brought out for display from nearby greenhouses) is designed to be a faithful replica of the original, with concessions for lighting and heating (by portable appliances plugged into low level sockets). It is separated from the function room by a Pilkington suspended glass assembly, the centre leaves of which can be opened to permit the passage of trees. The stone floor (which had been covered with tarmac by the ‘American Army during the war) has been restored and the original hypocaust floor system put back ready for recommissioning. The function room has a new oakstrip floor - covered with removable carpet segments - and is lit by newly installed electric chandeliers. The rhythm of the window arches in the main, south elevation is repeated on the opposite wall, partly as a decorative motif and partly as a discipline for the location of doors into new service areas. These replace former outbuildings, which have been cleared away, under a new roof that continues the line of the north slope of the Orangery. 62Structural work The major structural defect was the roof, the timber trusses of which had rotted. Since costs ruled out an authentic reconstruction in timber, a new roof incorporating steel trusses had to be designed. Second came the stonework of the facades, where there was bad spalling - caused, it was found, by the rusting of the iron cramps originally used. The restoration team therefore decided to dis- mantle the dressed stone facing to the facades down to the springing of the arches, replace the cramps with a non-ferrous variety and then reconstruct, repairing the stone wherever possible and replacing it only where absolutely necessary. This was important, since the local stone which had originally been used was no longer ‘Front Elevation Ground Plan, showing also 20th-century additiontand vse ‘wm 18th ceriury wa20th century Fontions Room ee ‘a Women’s Sele 1-260 4 mans Toilet. ee = s V Cloakroom]available. As a substitute. the architects suggested Forest of Dean stone, which proved an excellent match. All the windows had to be replaced, but some of the original hand blown glass could be salvaged ; where it could not, replacement handblown glass of continental manufacture was used as a substitute. As a separate contract, the reconstructed stone urns on the terrace (some of which were missing, others damaged) were matched by Haddonstone Ltd, who now market replicas. They also take the credit for repairing and completing the pairs of cherubs on the terrace, again in reconstructed stone, which had suffered severe damage to heads and limbs. In November 1977, the Country Park and Orangery received a Prince of Wales Jubilee Award for the conservation work carried out. VOCABULARY e descendant ngudi néi ddi, con chau e medieval, mediaeval (thudc) thoi trung cé, kiéu trung cd e Cistercian abbey tu vién dong Xito (mot dong tu khdi ngudn tit nude Phép nam 1098) e dissolution sy gidi thé, su giai tan monastery tu vién © cultivation sy tréng trot e citrus tree cay thudc ho cam quyt © estate dit dai, co nghiép, bat dong san e to replace thay thé e landholding sy sé hitu dat, sy chiém hitu dat *® promotion sy mé mang 645-THTA Mediterranean climate khi hau Dia Trung Hai greenhouse nha kinh lavish scale qui m6 rong rai facade mat tién ashlar da hdc vermiculated stone da van (Jan tan),dA van may, van thach round headed window cita sé x4y cu6n tron (phan trén lap kinh dé ldy Gnh séng) pedimented pavilion gian léu cé déu héi hinh tam gidc antiquity 46 cé front elevation hinh chiéu mat tién garlanded bucrane carvings céc otic cham khéc hinh dau con vat (60, su tt ...) quang vong hoa roofbreak doan ngét cia mdi (xdy mat titn nho lén) plasterwork frieze of lamps and griffins cOt dén va cot déu manh su bang vita bust tugng nifa ngudi, tugng ban than statue tugng collection b6 suu tap flue 6ng khoi, 6ng thong khi fireplace 16 sudi (xéy thut trong tudng) rear wall tung hau, tudng phia sau derelict adj bj bé hoang scaffolding gian giao to sag vong xudng truss gian to commission trao nhiém vu, giao pho restoration su khéi phuc, su xa4y dung lai - orangery vudn cam, lau dai cam 6566 replica phién ban, ban sao portable appliances céc thiét bi (dién) gon nhe tarmac vila d4 dam, nhva dudng hypocaust floor system hé théng san co ld sudi 6 duéi (kién tric kiéu La Ma cé) function room phong chite nang (danh cho hoi nghi, hoa nhge va trung bay, trién lam) oakstrip van g6 s6i chandelier dén chim decorative motif mé6-tip trang tri outbuilding nha phu, nha ngoai structural defect khuyét tat vé két cdu,khuyét tat xay dung to rot muyc nat, théi ria since costs ruled out an authentic reconstruction in timber vi ly do chi phi da loai bé viéc phuc héi nguyén dang bang g5 spalling su vun nat rusting sy gi, sy hoen gi steel cramp kep bang thép, to dismantle théo do dressed stone dé déo, da da gia cong non-ferrous variety ching loai kim loai mau da dang khac substitute vat thay thé to prove an excellent match ching t6 su tuong xting tuyét voi hand blown glass kinh théi bang phuong phap thi cong stone urn 1) lv hwong da; 2) vac d4 l6én; 8) tiéu da, binh dé dung tro héa tang cherub tiéu thién st (hinh dita tré cé cénh)« terrace thém, sén hién * Prince of Wales Jubillee Award Giai thuéng ky niém Cong tude xt Wales * conservation work cong viée bao tén DISSCUSSION 1. What architectural style Margam Castle was designed in ? 2. What did the new owner practice during the Grand tour of Europe ? 3. How was the facade of the house had been planned ? 4. What is the major structural of the designing work that had been carried out by Anthony Keck ? 5. Which solution was undertaken (applied) in remedy of defect ? 6. What was wrong with the stonework of the facades and why ? 7. What measures had been applied by Restoration team for remedying stone facade ? 8. What decided by architects when local stone for facade remedy was no longer available ? 9. Why the main part of the Orangery was designed as a high, narrow room .? 10. What materials the library was elaborately decorated with ? 11. When did the estate come into authority ownership ? And what did they do with it ? 67Lesson 8. GERMAN ARCHITECTURE Twentieth-century German architects have been trendsetters. The strongest influences came from Weimar and Dessau, where the Bauhaus school was formed in the 20s. This applies especially to Walter Gropius (1883 - 1969) and Ludwig Mies van der Rohe (1886 - 1969), two of the leading figures of the Bauhaus style, whose functional approach won worldwide recognition. Masterpieces of this synthesis of art and technology are to be seen on all con- tinents. For a long time the situation after 1945 was a great disad- vantage. The destroyed towns and cities had to be rebuilt quickly, and cheap housing was needed for milions of people. In those days little consideration could be given to architectural quality. In later years there were bitter complaints about the monotonous architecture of satellite townships and the dull fronts of department stores and office buildings. This was particularly true of the former GDR. There valuable old buildings were destroyed and scarce resource used to build massive housing estates, all constructed in the same prefabricated mould. ‘Today architects are experimenting more and more but at the same time providing buildings that meet human needs. While the success of many projects is still attributable to the Bauhaus style and philosophy, new trends, such as the post-modern, have produced some remarkable building German architects are also gaining prominence abroad with their bold designs, for instance Helmut Jahn, who is based in Chicago, a city of modern, high-rise buildings. He built the 256-metre high tower at Frankfurt’s exhibition site, the highest office building in Europe. Joseph Paul Kleihues has attracted attention especially in Berlin with his work on the Tempelhof Stadtreinigungswerk and 68the Neukdélln Hospital and as director of planning for the Inter- national Building Exhibition. Other leading German architects are Gottfried Béhm, who in 1986 became the first German to win the Pritzker Architecture Prize, Giinter Behnisch. and Oswald Mathias Ungers, who has a preference for geometic forms. Germany has some fine representative buildings. Clients award their commissions not only to German architects but also to internationally renowned architectural firms. German architects are successful worldwide. The skeleton high-rise, all-glass type, as exemplified by Mies van der Rohe’s Seagram Building in New York, has an interesting variant in the Federal Republic in the three-sectional Thyssen House in Diisseldorf (built by Helmut Hentrich in 1960) and the office building of Hamburg’s Elektrizitdtswerke (Arne Jacobsen and Otto Weitling, 1969). Examples of unconventional, dynamic architecture are the central office of the BMW car-making firm in Munich, with its striking cylindrical form (Karl Schwanzer 1972), and the Bahlsen building in Hanover with its interlocking cubist forms (Dieter Bahlo, Jétn Kéhnke, Klaus Stosberg, 1974). Another striking landmark is Stuttgart’s television tower with restauran and observation platform (Fritz Leohardt, 1956). The tent-like structures (Giinter Behnisch, 1972) designed for the 1972 Olympic Games in Munich are world famous. The sports facilities are situated in a park which continues to be a popular area for leisure pursuits. Architectural fantasy also finds expression in concert halls, opera houses, theatres and museums. World famous is Berlin’s new Philharmonie by Hans Scharoun (1963) with its vineyard-like terraced auditorium constructed around the orchestra. By contrast, Miinster’s Stadttheater incorporates a classical ruin. Stuttgart’s Liederhalle and Mannheim’s multi-purpose hall at Herzogenried-park 69are fine examples of assembly hall architecture. Museums which integrate well into the local townscape were built by Hans Hollein in Ménchengladbach (1982) and by Godfrid Haberer, who created Cologne’s Wallraf-Richartz-Museum/Museum Ludwig (1986). James Stirling’s Neue Staatsgalerie in Stuttgart was also received with much acclaim (1983). Another outstanding piece of architecture is the new Museum fiir Kunsthandwerk (Arts and Crafts Museum) in Frankfurt-am- Main, which was designed by Richard Meier (1985). University buildings, too, reveal some interesting exemples, for instance the University of Constance, whose buildings fit asymmetrically into the terrain. And the Filderklinik in Filderstadt near Stuttgart demonstrates how a hospital can be organically merged with the landscape. The new City Library in Munster (Westphalia) has been termed an “architectural sensation". With this two-part structure, one part of which is reminiscent of a ship, the previously unknown architect Julia Bolles earned international acclaim. Many churches, too, have been built in Germany since the Second World War. The architects had plenty of scope for experimentation. Worthy of mention are Berlin’s Kaiser-Wilhelm- Gedéchtniskirche (Emperor William Memorial Church), which had been destroyed during the war. Egon Biermann fused the old ruin with a new steel construction with large glass sections (1963). Another noteworthy structure is the fortress-like pilgrimage church at Neviges by Gottfried Bohm (1967). Present-day architecture must also make allowance for the needs of urban planning. During the recostruction phase in Germany much historical substance was sacrificed. Old residential building, from the late 19'" century, for instance, were not considered worth preserving. But in the meantime people’s attitudes have changed. The historical value of buildings is now appreciated. New 70buildings are integrated as far as possible into the local environ- ment ; the austere functionalism of department stores built in the 50s and 60s is no longer wanted. A greater awareness of the natural growth of town centres is reflected, for instance, in the Schneider department store in Freiburg (Heinz Mohl, 1976) or Wiirzburg’s Kaufhaus by Alexander von Branca. The Alte Oper in Frankfurt-am-Main is a magnificent building from the late 19"" century. Its exterior was completely reconstructed in 1981 and it now houses an ultra-modern concert hall and congress centre. More and more houses and groups of old or historical buildings as well as entire streets are being listed as protected objects. This also applies to industrial buildings such as the foundry in Bendorf on the Rhine or the pithead tower of the German Mining Museum in Bochum. Cities have begun renovating the old houses in their centres. This will provide additional accommodation and is in keep- ing with the current trend of encouraging people from the out- skirts back into the cities. The task of urban redevelopment will continue for a long time, especially in town centres in eastern Germany, where many individual buildings and entire streets that are worthy of preservation have suffered severely from decades of neglect. As the capital of the Federal Republic of Germany, reunited Berlin is faced with the monumental task of developing a new architectural concept for the entire centre of the city. The results of the official competitions and plans for revitalizing the Postdamer Platz were displayed at the German Architecture Museum in Franfurt-am-Main at the beginning of 1995 under the title "Ein Stick GroBstadt als Experiment (A Piece of the Big City as an Experiment). The Museum Island in Berlin is also being completely redesigned. Giorgio Grassi, the winner of the architectural 7competition, is linking the island’s five major museums with one another and the partially destroyed New Museum will be rebuilt. A “city of towers" is to rise on Berlin's Alexanderplatz, a creation of the Berlin architect Hans Kallhoff. VOCABULARY © trendsetter ngudi tao ra trao liu, nguéi dat ra phuong huéng « Bauhaus style phong cdch kign tric Bauhaus (1919) e functional approach quan diém (thién vé) chiic nang, quan diém céng nang; xem functionalism @ monotonous don diéu « satellite township thi trén vé tinh (ba0 quanh thanh phd loin hode thi dd) e GDR (viét t&t cla German Democratic Republic) CHDC Diic e prefabricated mould tém (bé téng) dtc sin * scarce resources nhiing nguén Iyc hiém hoi, tai nguyén hiém hoi « to be attributable (to) co thé qui vé, cd thé qui cho | © post-modern adj hau hién dai © representative building tda nha tiéu bidu « skeleton high-rise building nha khung cao tang © to examplify thé hién bang vi du, lam vi du e unconventional khac thutng interlocking cubist forms nhing hinh dang lap thé giao nhau e striking ndi bat, gay dn tugng © tent-like gidng Iéu trai, tao dang kiéu léu 72sports facilities céc céng trinh thé thao for leisure pursuits cho muc dich giai tri khi réi rai terraced auditorium day thinh phong xAy dat cép (cao dan) multi-purpose hall phdng nhiéu cong dung, phong da chite nang to integrate (into) hoa nhap (véi) acclaim su khen nggi, su tan thudng to fit asymmetrically into the terrain phi hgp mét cach khéng déi xing véi dia hinh to merge (with) hda ln (vdi), hoa hgp (vdi) fortress-like kiéu pho dai, giéng nhu phéo dai to make allowance for tinh dén, chiéu cé dén, uu ¥ dén reconstruction phase giai doan tdi thiét (sau chién tranh) austere khdc khé functionalism trudng phdi/chi nghia chic nang, trudng phai cong nang (cho rang chite nang phdi dong vai tr quyét dinh thiét ké, két céu vd vét lieu) ultra-modern siéu hién dai, t6i hién dai protected objects cdc déi tugng dugc bao tén foundry xuéng dtic, 1d dic outskirt ngoai 6 to revitalize lam séng lai, tiép stic séng, lam néo nhiét lai Philharmonie (tiéng Duc) phong hda nhac Alexanderplatz (tiéng Ditc) Quang trutng Alexander (¢ Berlin) EleKtrizitatswerke (tiéng Diic) nha may dién 73« Stadttheater ‘tiéng Ditc) Nha hat thanh ph6 « Liederhalle itiéng Dic) phong hoa nhac « Neue Staatgalerie (tiéng Dic) galori (bao tang my thuat) quéc gia Méi « Filderklinik (tiéng Dic) phong kham bénh da khoa Filder « Kaufhaus (tiéng Dic) cia hang bach héa téng hop « Alte Oper ‘tiéng Ditc) nha hat Opéra Cé « Postdamer Platz (tiéng Dic) Quang trudng Postdam (6 Berlin) DISCUSSION 1. Why the German architects are said to be trendsetters in the beginning of the twentieth century ? 2. What was the typical approach of the Bauhaus style ? 3. Why little consideration could be given to architectural quality after the World War II ? 4. Why there were bitter complaints about the German ar- chitecture after 1945 ? 5. What was the new trend in German architecture ? 6. Who among architects has a preference for geometric forms ? 7. What exemplified the skeleton high-rise building ? 8. Is urban planning taken into account by present-day ar- chitecture ? 9. What kind of buildings is protected nowadays ? 10. What is the monumental task for reunited Berlin ? 74SUPPLEMENTARY READING Text 1. AN URBAN PARK IN SYDNEY : DARLING HARBOUR It became clear that the relatively small area of open space available, the central city location and a projected visitation of between 10 million and 14 million people per annum meant that this would be a very urban park indeed. It could not be large in scale like Centennial Park or the Domain. It would be intensely used and should provide a diversity of activities for a wide range of people- Sydney residents, visitors from the country, from other States, from overseas, people of all ages. If anything, in the intensity of its use, Darling Harbour Park would be more like an expanded and softly landscaped city mall like Martin Place. The open space will not only be the environmental setting for the building that front it, the park and promenade must support and enhance what goes on in the buildings. What happens in the Harbourside Markets, for example, will be strongly reliant on the promenading activity around the harbour - outdoor restaurants, dis- plays, buskers, boat traffic will interact and the open space will become the focal place, the place where crowds gather and the fun of crowds inspires the enjoyment of leisure-time shopping, eating, drinking, talking and most importantly - looking. viPerformance requirements In addition to the normal analysis of site constraints and op- portunities a set of performance criteria was developed for the park and each of the elements in it including soft and hard landscaping. The criteria addressed user needs, visual aspects and desired relationships with other elements of the Darling Harbour scheme. The elements addressed in the performance criteria included entrances, the lake, terracing, carousel, children’s play area, the outdoor performance area. Criteria were also developed for planting, hardworks, lighting, infrastructure and maintenance. The design of the park A number of options were developed for the park and evaluated against performance principles established in the user re- search stage. These options, differing in approach, could be described as : "naturalistic’, based on a large open green space ; "informal", with meandering pathways defining curvilinear edges and iregular spaces around the lake ; a combined formal-informal structure with formal avenues and a central plaza overlaid on informal park space. The preferred option, however, was based on a simple geometric form within which a variety of formal and informal spaces, active and passive areas, are provided. The park green is the dominant focal place, serrving as a passive recreation space, as an informal outdoor performance area and as a gathering place for processions to and from the city. ‘This circular green is located at the nodal point of the main entries to the park - Liverpool Street and the southern entry under Pier Street. The "central place” character of the green is reinforced by symmetrical planting of normally unruly eucalypts of the tall, slim-trunk 76variety such as spotted gums. The hook shaped urban stream fur- ther strengthens the central place as does the pathway from Liverpool Street around the green and marching forcefully down to the harbour with its accompanying row of canary palms and cluster lights emphasising the connection between the park and the harbour, and in particular, the gathering place in front of the Harbourside Markets. The hooked stream, an interesting concept in itself, begins in a gurgling, deep-bubbling source, proceeds around the circle in a series of water plateaux then rushing waters and stepping atones and is quiet again in a final circle segment of still water. The stream then takes off directly down the palm promenade to the harbour. The terraces are designed to take advantage of a 3 metre high diffierence between the floor of the Exhibition Building and the floor of the park. Their main purpose is to soften the impact of that very large building on the experience of people using the park. A series of curvilinear planter beds, ramps’ and stairs modulate the space between the urban stream and the floor level walkway along the front of the Exhibition Building. The play mounds are a sequential experience. They begin with a toddler's sandpit near the lake and progress along the cur- vilinear brick pathway through a series of play structures for climbing, swinging, rotating, jumping, sliding and crawling on to a maze under the expressway amongst the tropical undergrowth. The play structures occur at the cut-off ends of six sculptured grass mounds and the concept is based on the assumption that parents and minders will use the mounds and the valleys between them as relaxation areas while the kids pursue their more vigorous ac-tivities in and on the play structures at the end of each mound along the walkway from the lake to the harbour promenade. 77The Chinese gardens, designed in Guangdong Province by Chinese garden designers, is a sister-state development with New South Wales, illustrating co-operation and goodwill between Australia and China. The form is traditional-winding paths around and across pools, streams and waterfalls and up the "mountain". Rocks, trees, shrubs and pavilions are designed to combine in an expanding series of visual, aural and tactile experiences for the visitor. The Chinese gardens, adjoining the Dixon Street Chinese community, are an important symbolic link to China itself. Gateways to the park. The main southern entry is under the William Henry Bridge at Pier Street which is raised to allow appropriate pedestrian access for approximately 20,000 people on a peak day. The design solution defines the ground plane with light paving, and the ceiling plane with a canopy of banners. Water as "white noise” and transitional tree planting help convert this entry into an environmentally pleasant gateway. At Liverpool Street the basic gateway design is achieved by lowering the roadway (which had to be relocated anyway) so that an arching pedestrian bridge is provided as a natural extension to the footpaths along Liverpool Street. Two plaza spaces are provided by the roadway relocation. The southern plaza serves the extended Dixon Street mall while the northern plaza relates primarily to the building at that corner. Other pedestrian gateways tg the park include the Bathurst Street overpass, designed as a nodal point in the Darling Walk development and the Fig Street overpass from the Ultimo monorail station. Landscaping in this very urban park is designed as a man- made environment rather than as emulated bushland. Mounds are sculpted and the shaping of the landscaped elements is formal rather than natural. The tree planting strategy has some unusual 78features but the dominant theme is Australian - indigenous species such as eucalypts and cabbage tree palms and culturally adopted species such as the Canary Island palm and the plane tree dominate. Spotted gums, tall with slender trunks and high crowns, are planted symmetrically around the park green. Other species of slim, high canopy eucalypts are planted in the terraces of the Ex- hibition Building. The high crowns are seen in reflection against the glazed facade while people on the terrace walkways can see through the slim trunks to the activities on the park green. The waterfront promenade The waterfront promenade is a horseshoe shaped walkway with the maritime museum at one end and the aquarium at the other. Pyrmont Bridge links the two ends at the upper level. The design of the water edge is robust and, in the tradition of working wharves, it has spring piles and bollards from the original wharves for the berthing of vessels. A timber seating edge and concealed water lights complete the edge details. The promenade is a relatively simple and straightforward walking area around the water. The excitement comes from the activities that front it - the maritime museum, the festival markets, the Convention Centre, the park and the casino-hotel complex. As a gathering place it is unique. Lighting, signage, furniture, paving and artworks There are certain components of the public environment that can be losely regarded as systems because, if co-ordinated, they can hold a place together visually and give it special character and identity as a precinct. Adjacent Chinatown has some obvious examples - the Chinese gates, distinctive trees, street lights and "Chinese" ceramic roof tiles. 79‘The main components that can be co-ordinated and treated as systems are : « lighting - spotlights, floodlights, downlights, uplights, lasers ; fixtures on poles, in bollards, on walls, recessed in ground, on trees, underwater ; exposed light source, hidden source, shielded source ; « street furniture - shade and shelter devices, light poles and fixtures, seating, bollards, rubbish bins, sign posts, handrails, banner poles, flag poles ; « hard landscape - paving, retaining walls, steps, ramps, manhole covers ; soft landscape - planting, grass, mounding ; « signage - public sector and private enterprise guide signs and destination identification signs ; e art works - tiles, sculpture, murals, etc. Master plans prepared for the above component systems spell out the design and location of the components. Lighting The lighting master plan aims to create a unique and in- viting night-time character in Darling Harbour in addition to the more usual city lighting principles of "enough light to see by" and "enough life for safety’. The intent is for a night-time appearance that is different from other people-places in Sydney, a night scene that flatters the environment, a scene that has some drama and is stimulating to walk through. To this end the master plan is based on the following prin- ciples : Lighting for contrast : Clearly, if Darling Harbour were lit to a uniform level of brightness there would be no contrast, no differentiation. The scene would be as in daylight and the opportunity 80missed. The obvious example to avoid is anything like the uniform floodlighting of the Sydney Cricket Ground. The elements to be lit must be carefully selected and the ambient light around them kept relatively dim so that the important things stand out. Designing for light quality : The primary concern is with light itself and its effect on the surfaces it hits - daytime appearance of lighting fixtures is less important although of course, these fixtures should fit into an attractive street furniture "family". The primary concern is with the effect of light on something rather than the glare of the light source itself. For example, be- cause it is important to illuminate the shape of the trees and the colour of the foliage the viewer must not be distracted by the glare of the light source itself. Where light sources are exposed it is intentional - to make the place seem festive or romantic as on the foreshore promenade or to highlight the structure of the development as in the line of lights outlining the basic pathway geometry. Lighting for character : Lighting should be designed to en- hance and strengthen the desired character of the building, space or path. Darling Walk, the entertainment precinct, should be lit for visual excitement and movement as expressed by neon signs, moving light, masses of exposed light sources. The park, on the other hand, should be lit to expose the visual interest of the trees, shrubs, mounding, waterways, sculptures, artworks and landmarks. At the detailed level, lighting should enhance its subject. Colour rendering, brightness distribution and aiming should be flat- tering to people and the form and textures of buildings and landscaping, while minimising glare to create a comfortable en- vironment. 6-THTA 81Lighting for safety : Overall light levels will not be sacrificed by the application of the above principles and the development will be safe and will feel safe throughout the night. The concept is to light up the structure of Darling Harbour by highlighting the major entries to the development at Liverpool Street, Market Street and Pier Street, defining the major walkways with light clusters, defining the water's edge around the harbour, the lake and the hooked stream ; lighting the planting, terraces and mounding with soft, concealed source lights ; architectural highlighting of the major buildings and structures such as Pyr- mont Bridge. The lighting master plan develops this concept in detail, spelling out for each component of Darling Harbour the desired night-time character, the lighting theme, special lighting re- quirements and light types. Signage ‘The signage master plan aims to help people get to Darling Harbour, to explain where things are, to identify places, buildings, attractions and conveniences, to identify connections to city streets, to buses, taxis and monorail stations. All these signs will be treated as part of one information system and that system will have its own Darling Harbour graphic identity based on a uniform letter face and a standard sign colour. The main kinds of public guide. signs will be : * advance guide signs - signs in adjacent city precincts leading people to Darling Harbour ; signs in Darling Harbour indicating the way to city streets, monorail stations and bus stops ; ® guide maps - maps at the main entrances identifying path- ways, buildings, attractions and public services. These maps will be supplemented by poster displays illustrating changing events such as exhibitions, conventions and performances ; 82« identification signs — all public services will be identified: by internationally recognised symbols - toilets, first aid, telephone, parking, etc ; * regulatory signs - essentially traffic control signs on roads, drop-off areas and in the parking stations. Furniture A family of street furniture is being designed specifically for Darling Harbour and will contribute to the "special place" character of the development. The vertical elements - light poles, bollards, garbage cans and sign poles will have a similar treatment in form, materials, finish and colour. Seating will be ergonomically designed for comfort. Paving Paving will be a patterned array of high-fired clay bricks in a mottled colour range including reds, browns and cream. The bricks will be laid in repeating bands about 3.5 metres wide, a comfort- able pedestrian scale. The bands run either in parallel lines or in a series of parallel wave-like curves. The paving provides an overall base pattern of line and colour to help hold the open space areas together and provides an ap- propriate setting for the buildings. Artworks The opprtunity exists for artworks conceived as an integral part of the public environment of Darling Harbour and not as an afterthought. Artworks have the capacity to.completely transform places by adding a decorative richness, by providing an historical insight, commemorative relief or by adding a touch of whimsy and visual entertainment. The range of public art can be broad - sculptures, fountains, paving as well as artworks of a smaller nature such as banners, plaques and even manhole covers. Artworks should display a 83variety of mediums including masonry, ceramics ; mosaics, wood, glass, concrete and cloth. The individual artwork should relate to its setting and the nature of surrounding activities. General locations and briefs for major artworks have been identified taking into. account the physical characteristics and con- straints of the site. VOCABULARY * projected visitation sy tham viéng du kién © per annum hang nam « from other states tit céc bang khéc « the park and promenade must support and enhance what goes on in the buildings céng vién va noi dao choi phai tro giup va thic d4y nhitng hoat dong trong cdc toa nha @ -busker ngudi hat rong e focal place noi héi ty e constraint han ché, rang budc carousel 1) trd choi kéo quan (céc con ugt dé tré em cuéi quay tron trén ban quay) 2) du quay « outdoor performance area khu vuc biéu dién ngoai troi * evaluated against performance principles dugc danh gid/thdém dinh theo céc nguyén t4c hiéu qué sit dung « naturalistic theo kiéu tu nhién, theo chi nghia ty nhién * informal than tinh, than mat, kh6ng theo nghi thtic, khong chinh quy e to meander quanh co, u6n khic e curvilinear cong active (recreation) space noi vui choi gidi tri phai tra tiénpassive (recreation) space noi vui choi gidi tri khong mat tién focal] place noi héi tu, noi trung tam procession doan diéu hanh, doan tudn hanh, dim ruée nodal point diém nut eucalypt cay bach dan slim-trunk variety gidng than manh spotted gum giéng bach dan co dém hooked stream dong muong u6n (hinh cdi méc) terrace 1) déi gia (phn dat ddp cao) 2) thém, hién 3) san thugng play mound (ving) déi choi toddler tré dang tap di sandpit hé cat (néng) maze duéng mé cung promenade noi dao choi, ché di dao Guangdong Province tinh Quang Dong (Trung Quéc) sister-state development su trién khai hgp téc giita hai bang (tinh) két_nghia New South Wales (¢én mot bang cita Uc) landscaping tao dung phong canh, xay dung vutn hoa emulated bushland khu dat cd cAy c6i duge cai tao - plane tree cay ng6 déng ‘ precinet khu vuc riéng (thuong cé tung bao) bollard try thép identification sign ky hiéu (bién béo) nhan biét céc cong trinh (theo qui uée quée té, vi du : nha vé sinh, dién thoai ...) ramp bd déc thoaie manhole cover nap cong e signage (hé théng) tin hiéu e rubbish bin thing rac © sign post c6t bién bio lighting for contrast chiéu sang tao tuong phan e uniform level of brightness mic dé chiéu sang déng déu e dim mé, t6i » to stand out néi bat e glare sy sang chdi, anh s4ng gay choi mat e lighting for character chiéu sang ton dc diém riéng e regulatory sign ky hiéu (bién bao) luat 1¢ giao thong *® ergonomically vé mat céng thai hoc Text 2. URBAN EVOLUTION ‘A new generation of city houses : clean and sophisticated, with hints of their ancestry. With its peaked roof and 2 1/2-story scale - typical of many a vintage Victorian in this area of Chicago - this new single-family home is not unlike others nearby. But take a closer look. The brick facade overlays a curved central core with a stuccolike skin. A trio of open "windows" crosses the large rectangular frame over a sheltered entry. The geometry is carried to the top, where a masonry arch and circle punctuate the rise to a steep gable peak. It’s a nifty mating of contemporary and traditional styles. But it’s not merely a marriage of convenience. The painted white facade makes a bold presence without detracting from its many Victorian neighbors. Rather, it draws from them, wrapping its modern soul in the nostalgic aura of the Victorian Era. 86The project represents a common puzzle for urban designers : to bring natural light into a narrow space in the shadow of ad- jacent homes - and to do it without sacrificing privacy. The site here spans a mere 25 feet in a row of housefronts pressed close to the sidewalk. Inside, the dramatic bbkecon solution unfolds almost im- ate mediately. Beyond an un as- = suming entry and up a few [CJ] stairs, a bright and open en X| «tea Surrounds a winding staircase. The dining area, a the focal point of this front living space, basks in the radiance of four large a skylights. "The concept was to bring a pile of light right oepice Jimon'| down the middle of the building”, says architect Bill Bauhs. Oren ‘MAIN LEVEL UPPER LEVEL Because it’s a city home, there is privacy from the street. A curved pillar wall is banded at the top with glass blocks that admit a ribbon of light. A simple double-hung "vision" window is a friendly gesture to the street, according to Bauhs, "so that the living space is not totally walled off". The homeowner saw the light the first time he stepped inside. 87"I walked in on a sunny day and saw the skylight and I said. ‘This is it ?”, says lawyer Philip Corboy, Jr, 42. "What I like most about the layout is that the rooms are large and uncluttered. They move with one another and flow into one another. Each serves a purpose and doesn’t contradict the rest of the house’. Circular lines inside helped avoid the tunnel effect that some- times plagues long, narrow plans. As constructed in Chicago, the house has a basement level that isolates additional bedrooms, and upper-level stairs climb to a rooftop deck that rises above the closed-in feeling of many urban row houses. Corboy wanted to maintain the home’s open feeling, so when he hired interior designer Richard Menna to furnish it, he was clear about what he liked : a California contemporary style with Southwest accents. Furnishings were selected to complement the architecture. For instance, Menna used a round table on a circular rug to echo the sweeping circular staircase. A 10-foot-long “floating buffet, crafted of bird’s-eye maple and black lacquer, provides requisite storage in a style suited to its surroundings. ‘A more formal living area, set apart by a slight elevations, is furnished sparsely with a baby grand piano and leather chairs. Steps up to the living room are gracefully, their shape echoed by the curve of the front wall and repeated again in the piano and chairs. From recessed ceiling fixtures, light pours down the walls and draws further attention to the shape of the room. "Phil wanted the architectural details to be emphasized", Menna explains, "so we didn’t put-a lot of furniture in it". A short, curved wall and counter define the home’s compact but efficient kitchen. Its granite countertop is equipped with a gas cooktop, an electric grill, and a pair of sinks. White lacquer cabinets and a walk-in pantry provide plenty of storage. Barstools tie the kitchen to the adjacent family room. 88The family room has a gallery quality - spacious and un- clurtered-that invites guests to gather and mingle comfortably. Towering windows enhance the room’s openness, and its tie to the kitchen makes the family room a natural gathering place. Beyond the family room : a two-story spa area holds a hot tub and a view of the flagstone path thrrough Phil’s landscaped garden "When I walk through the garden, I know I’m home", he says. Upstairs a central bridge links the master suite with Phil’s home office. Above the family room and kitchen, the master suite continues the home’s sense of openness. No walls cut between the bedroom and bath spaces, which are defined instead by changes of materials. The stairway climbs one more flight to a rooftop deck that raises Phil above the tight confines of the city streets and offers him a refreshing view of the Chicago skyline. Phil’s office, also on the master-suite level, sports black lac- quered wood with bird’s-eye maple shelving that swallows up reams of paper. "Because of my work, I need to be able to get away and concentrate on memoranda, briefs, and arguments", says Phil. "This takes me away from the noise of a large office, but at the same time I can be connected - with fax and computer". Wood and black lacquer give this office an appearance of calm and strength. The desk and shelves are rounded, echoing the circular patterns downstairs. For all of that, the office isn’t Phil’s favorite room. In fact, he isn’t partial to one over the others. "Every room serves a pur- pose", he says, a good indication of how neatly his house fits his needs. “When guests come in", Phil says, "they're met with a huge panoramic view and they say "Wow !" I like that it’s a dramatic space, but I didn’t want people to feel like they're sitting in a 89museum, So | think that: the furnishings make the spaces relaxing. It’s a very comfortable house". 90 VOCABULARY evolution sy phat trién, su tién hoa, su phat trién sophisticated hign dai, tan tién peaked roof méi chép nhon to overlay phi lén stuccolike skin lép ngoai gidng vila stucco sheltered entry 16i vao cd mai che steep gable peak thap nhon trén néc cd 16 nhd thong gid nifty mating sy két hgp ding kiéu, su hda hgp ding kiéu to detract lam gidm, lam mét puzzle cau d6, vin dé kh gidi quyét unassuming entry 16i vao khiém tén to bask phoi ra, tam (¢rong anh sang) the concept was to bring a pile of light right down the middle of the building y tuéng thiét ké la ldy luéng 4nh sng chiéu thing xuéng trung tam ngoi nha privacy chén riéng tu a curved pillar wall is banded at the top with glass blocks that admit a ribbon of light tugng bé tru tron bén trén co bang cita kinh tao nén dai anh sng. uncluttered gon gang, khong bifa bon, khong tan man circular lines inside helped avoid the tunnel effect that sometimes plagues long, narrow plans nhiing dutng cong bén trong gitip tranh duge "hiéu tng dung ham" ma nhiing kiéu thiét ké dai va hep thudng mac phaie row house nha hinh 6ng (dai, mat tién hep) e buffet 1) tu dung bat dia, am chén ; 2) quan giai khét, quan diém tam © countertop mat ban xay, bé ban « cooktop be bép e sink chau ria, lavabd e walkin pantry phong chita dé an va bat dia c6 16i vao rong rai e spa area khu vue tam mat, nghi ngoi Text 3. TRIUMPHANT: TRIANGLE When a Philadelphia couple asked architect David Beck to design their summer house, they, had two specific goals in mind : They wanted to take advantage of the views from their shoreline site on Long Beach Island, and they wanted a place suitable for entertaining large groups of friends. Beck blended those goals with the region’s legacy of coastal 91architecture and came up with a new angle on an old idea : He proposed a shingle-style pyramid. Unlike the pyramids of ancient Egypt, however, Beck imagined a modern and practical solution to the island's tough conditions. “Basically, I don’t think God intended for people to build right there", recalls Beck, half in earnest. "Essentially it’s just a sandbar in the ocean with high winds. So, we needed a building that could handle those winds". What better shape than a pyramid - broad and sturdy as a tripod at its base, with a long, wind-ducking roofline and a smaller upper level. "A triangular shape is much more stable than a rectangle’, Beck says. "For the building to hold up, it made sense to have simple large surfaces". The result was a house boasting long, wide- open views to the Atlantic on one side and to a bay on another, while offering a simple, privacy-assuring shingled roofline on the back. "We needed a design that would offer protection from the elements but would still allow activity to float from indoors to out- doors", ‘Beck says. For the protection angle of the problem, Beck looked to the vernacular architecture of the island, which was settled by Nor- wegian fishermen. "They built wood-frame, cedar-shingle huts with local materials", he says. “Since the last century, there has been a tradition of building along the coast with cedar shingles and shakes because they’ve proven to hold up. The water gets under them and then runs right out and they dry’. One material chosen by Beck but unavailable to those Nor- wegian settlers was fiberglass. "Timber tends to warp under these conditions, so there are certain places where you really shouldn’t use wood", he says. "A lot of the handrails and window surrounds, for example, have a hard fiberglass coating, almost like an automobile body job, that will hold up in a way that wood alone would not". 92Beck used the shape of the house and its orientation on the site as additional weather-beating tools. The peak of the house reaches out to the fair-weather side of the site. The long slope of the roof shields the house from the course of heavy storms. Another advantage of the triangular shape is that it allows longer walls than a rectangular house. To contain the same volume of space with a rectangle, Back figures the walls would be only two-thirds as long. Longer walls offer sweeping expanses of windows for gathering in the view, and longer decks for enter- taining. Entertaining friends was a key element in this plan. “Activity at the shore involves other people’, Beck points out. “Life there is centered around socializing, so the owners wanted a design weighted in the direction of public spaces rather than private spaces. That led to a building where most of the spaces were on the ground floor and much more modest spaces on the second floor”. When you add the architect’s concern for exterior protection with the owner’s interior needs, the sum is a pyramidal form. The success of that form was brought home shortly after the house was completed, recalls Beck : "This is a place for people to get together. I remember the owner had a party at night. It was dark and there were lanterns everywhere. The house was lit up like a boat. That’s when the design made the most sense to me". Of course, this design won’t work everywhere, warns Beck. It wouldn’t suit a site without views, for example, or one where privacy is a concern. On the other hand, if you do have a site with a view, the triangular shape certainly has its points. 93a 94 VOCABULARY to entertain 1) tiép dai ; 2) gidi tri to blend két hop, hda tron shighle.style adj kiéu tém lgp essentially it’s just a sandbar in the ocean with high winds thuc chat nd chi la mot bai cat ¢ dai duong véi gid I6n a building that could handle those winds mét ngoi nha cd thé chéng/chiu duge nhitng con gis ay tripod vat ba chan, gid dé ba chan to hold up in a way that wood alone would not chiu dung bén viing duge ma néu chi mot minh g6 thi khéng chiu néi vernacular architecture kién tric bang vat ligu dia phuong fibreglass soi thuy tinh, bong thuy tinh to warp cong, vénh coating ldp (vd) boc wind-ducking roofline duéng mai ch4n gid thaép to offer protection from the elements bdo vé duge khéi cdc hién tugng thién nhién weather-beating tool cong cu ch6ng choi véi thoi tiét, phuong tién chéng choi véi thoi tiét the peak of the house reaches out to the fair- weather side of the site dinh ngoi nha vuon vé huéng thuan loi vé mat thai tiét 6 dia diém do. longer walls offer sweeping expanses of windows tugng dai hon sé din t6i viée phai mé réng cdc ctta sé the owners wanted a design weighted in the direction of public spaces rather than private spaces chinhan muén co ban thiét ké thién vé khodng khong gian chung hon la khong gian riéng when you add the architect’s concern for exterior protection with the owner’s interior needs, the sum is a pyramidal form khi ban két hop su quan tim’ cta kién tric su déi voi su bao vé bén ngoai vdi nhu cu ndi that cia cha nhan thi két qua 1a m6t dang kim tu thap Text 4. THE ULTIMATE HOME SHOW Each year, builders from across America gather at the National Association of Home Builders (NAHB) show to see the latest products and the newest construction methods. The show, most recently held in Houston, brings together more than 1,000 com- panies, each with a story to tell and products to promote. Off the show floor, trend-setting industry specialists present seminars to builders. It was a short parade, but the demonstration homes at this year’s show included some star performers. "The New Concrete Village" might be a tough name to market, but it immediately struck a chord among builders from scorched sections of California and hurricane-damaged areas of Florida. These builders represented consumers who want disaster-resistant building alternatives. This demonstration project, sponsored by the Portland Cement Association, involved constructing the shell of a house at the convention site using several concrete building systems. For another masonry theme house, the Portland Cement Association teamed up with the National Concrete Maso- nry Association to build the "Back to Basics Home". This project features concrete-block walls and concrete floors, 9596 pavers, roof tile, and a fireplace. Walls and gates of the courtyard conceal the entrance. The exterior is designed to be maintenance-free, and the interior features such innova- tions as a poured, tinted concrete floor in the living room and an entertainnent and sound system concealed behind the doors of built-in cabinets. So what’s basic about it? Privacy spaces for each family member, a three-zone heating and cooling system ; and a "kids’ quarters” with two bedrooms and baths, a media/play room, and a study area. The "New American Home’, sponsored in part by the National Association of Home Builder’s National Council of the Housing Industry, was an affordable ($186,000) departure from the glitzy homes of more recent years. Last year’s project covered 5,191 square feet and was valued at $1.75 milion. In this year’s 3,144-square- foot home, the emphasis was on value, with a parlor that transforms into a first-floor bedroom, upstairs and downstairs computer alcoves, and a space above the garage that can be finished as finances permit. Traditional floor plans take a practical twist with a nontraditional stairway situated in the kitchen instead of the foyer. Kids’ bedrooms measure only 11x13 feet, but there’s a shared study space in between and a 20x13-foot recreation room to keep toys and games from migrating to the downstairs family room. "Lifestages", a series of three homes showcasing products from the extended family of Masco companies, also demonstrated the changing face of housing for an aging population. Constructed in a development for residents 55 years and older, the homes feature inconspicuous grab bars in the bathing area, a doorless shower in one house, wide hallways, and large rooms for hobbies or a home office.What’s New in New Homes The Best in American Living Awards, sponsored in part by the NAHB, draws entries from home builders across the nation. The entries reflect a host of features that consumers expect to see in their new homes, Trends that surfaced among this year’s entries = « Simple, traditional, elegant exteriors that deemphasize garages. In some cases, garages are inset or even angled to the street to minimize their impact on the facade. « Fewer space-eating vaulted ceilings and greater use of cove and tray ceilings. In addition to giving multistory homes more space on the upper floors, both alternatives define room spaces as well as vaulted ceilings. Cove and tray ceilings do an even better job of utilizing recessed light fixtures because the light is closer to its target. They also open up more less heating energy to become trapped as the warm air rises to the ceiling. ¢ Walls are back. Consumers’ love of wide-open floor plans is being tempered by a need for privacy and quiet. Builders who want to offer the best of both openness and privacy are using columns, partitions, half-walls, and walls with decorative openings into adjoining rooms. © More planning for outdoor uses. The winning house, for example, featured both front and rear porches. Better-space planning by builders is resulting in fewer and smaller formal areas. Use of flexible spaces that can change as family circumstances change is also on the in- crease. VOCABULARY e show trién lam, noi trung bay e National Association of Home Builders (NAHB) Hiép 7-THTA 97hoi cde chuyén gia xay dung nha 6 quéc gia (Hoa Ky) off the show floor 6 ngoai phong trung bay trend-setting tao ra xu huéng méi, dua ra kiéu mau méi to strike a chord bat ding nhip, dénh tring tam tu tinh cam scorched section khu vuc bj nang gat hurricane-damaged area khu vic bj bao tan phd disaster-resistant building alternatives nhiing kiéu nha mdi (thay cho kiéu cit) ch6ng choi duge vi thién tai maintenance-free khéng phai duy tu, bao duéng built-in cabinet. ti xay chim trong tudng glitzy hp dan, thdi thugng, néi dinh dam “parlor (My) = parlour (Anh) phong khach alcove géc thut vao to showcase trung bay inconspicuous grab bar tay ndm vin khéng 16 liéu cove ceiling mép tran hinh vom (6 gd giita tran va tuong) tray ceiling tran khoang (duéi mdi hvi) vauted ceiling tran (kiéu) vom, tran cong vom recessed light fixture bd den lip thut vao (trong trin, tung) partition tung ngan, vach (ngan) porch 1) céng xay (gan vdi cong trinh, thuong cé mai va Ad canh) ; 2) hang hién (= veranda).Part Il CIVIL ENGINEERING Lesson 1. SURVEYING Before any civil engineering project can be designed, a survey of the site must be made. Surveying means measurin - and record- ing by means of maps - the earth’s surface with the greatest degree of accuracy possible. Some engineering projects — highways, dams, or tunnels, for example - may require extensive surveying in order to determine the best and most economical location or route. There are two kinds of surveying : plane and geodetic. Plane surveying is the measurement of the earth’s surface as though it were a plane (or flat) surface without curvature. Within areas of about 20 kilometers square - meaning a square, each side of which is 20 kilometers long - the earth’s curvature does not produce any significant errors in a plane survey. For larger areas, however, a geodetic survey, which takes into account the curvature of the earth, must be made. The different kinds of measurements in a survey include dis- tances, elevations (heights of features within the area), boundaries (both man-made and natural), and other physical characteristics of the site. Some of these measurements will be in a horizontal plane ; that is, perpendicular to the force of gravity. Others will 99be in a vertical plane, in line with the direction of gravity. The measurement of angles in either the horizontal or vertical plane is an important aspect of surveying in order to determine precise boundaries or precise elevations. ‘A transitman and two chainmen making a survey In plane surveying, the principal measuring device for distance is the steel tape. In English-speaking countries, it has replaced a rule called a chain, which was either 60 or 100 feet long. The 66- foot-long chain gave speakers of English the acre, measuring ten square chains or 43,560 square feet as a measure of land area. The men who hold the steel tape during a survey are still usually called chainmen. They generally level the tape by means of plumb bobs, which are lead weights attached to a line that give the direction of gravity. When especially accurate results are required, other means of support, such as a tripod-a stand with three legs-can be used. The indicated length of a steel tape is in fact exactly ac- curate only at a temperature of 20° centigrade, so temperature 100readings are often taken during a survey to correct distances by allowing for expansion or contraction of the tape. Distances between elevations are measured in a horizontal plane. In the diagram alongside, the distance between the two hills is measured from points A to B rather than from points A to C to D to B. When dis- tances are being measured on a slope, a procedure called breaking chain is followed. This means that measure- ments are taken with less than the full length of the tape. Lining up the tape in a straight line of sight is the responsibility of the transitman, who is equipped with a telescopic instrument called a transit. The transit has plates that can indi- cate both vertical and horizontal angles, as well as leveling devices that keep it in a horizontal plane. Cross hairs within the telescope permit the transitman to line up the ends of the tape when he has them in focus. CENTESIMAL | ~ SE XAGESIMAL Angles are measured in degrees of are. Two different systems are in 100°| 90° use. One is the sexagesimal system that employs 360°, each degree con- sisting of 60 minutes and each minute of 60 seconds. The other is 101the centesimal system that employs 400. grads, each grad consist- ing of 100 minutes and each minute of 100 seconds. A special telescopic instrument that gives more accurate readings of angles than the transit is called a theodolite. In addition to cross hairs, transits and theodolites have mark- ings called stadia hairs (stadia is the plural of the Greek word stadion, a measure of distance). The stadia hairs are parallel to the horizontal cross hair. The transitman sights a rod, which is a rule with spaces marked at regular intervals. The stadia hairs are fixed to represent a distance that is usually a hundred times each of the marks on the rod. That is, when the stadia hairs are in line with a mark on the rod that reads 2.5, the transit is 250 meters from the rod. Stadia surveys are particularly useful in determining contour lines, the lines on a map that enclose areas of equal elevation. Contour maps can be made in the field by means of a plane- table alidade. The alidade is a telescope with a vertical circle and stadia hairs. It is mounted on straight-edged metal plate that can CROSS HAIRS be kept parallel to the line of sight. The surveyor can mark his readings of distances and elevations on a plane (or flat) table that serves as a drawing board. When the marks representing equal elevations are connected, the surveyor has made a contour map. STADIA HAIRS Heights or elevations are determined by means of a surveyor’s level, another kind of telescope with a bubble-leveling device parallel to the telescope. A bubble level, which is similar 102to a carpenter’s level, is a tube containing fluid that has an air bubble in it. When the bubble is centered in the middle of the tube, the device is level. The surveyor sights a rule called a level rod through the telescope. The rod is marked off to show units of measure in large. clear numbers. The spaces between the marks usually are alternately black and white in order to increase visibility. The number that the surveyor reads on the level rod, less the height of his or her instrument, is the vertical elevation. Heights are given in relation to other heights. On maps, for example, the usual procedure is to give the elevation above sea level. Sea level, incidentally, can be determined only after averaging the tides in a given area over a definite period. A survey carried out by level and rod often gives the elevation in relation to a previously measured point that is called a bench mark. Approximate elevations can also be measured with an al- timeter, which is a device that takes advantage of changes in at- mospheric pressure. Readings taken with an altimeter are usually made at two, and sometimes three, different points and then averaged. The readings must be corrected for humidity and temperature, as well as the weight of the air itself. Modern ‘technology has been used for surveying in instruments that measure distance by means of light or sound waves. These devices direct the waves toward a target that reflects them back to a receiver at the point of origin. The length of time it takes the waves to go to the target and return can then be computed into distance. This surveying method is particularly useful when taking measurements over bodies of water. Aerial photography is another modern method of surveying. A photograph distorts scale at its edges in proportion to the distance the subject is from being in a direct vertical line with the lens of the camera. For this reason, the photographs for an aerial survey are arranged to overlap so that the scale of.one part joins the 103scale of the next. This arrangement is called a mosaic, after the pictures that are made from hundreds of bits of colored stone or glass. Geodetic surveying is much more complex than plane surveying. It involves measuring a network of triangles that are based on points on the earth’s surface. The triangulation is then reconciled by mathematical calculations with the shape of the earth. This shape, incidentally, is not a perfect sphere but an imaginary surface, slightly flattened at the poles, that represents mean sea level as though it were continued even under the continental land masses. In addition to measuring surfaces for civil engineering projects, it is often necessary to make a geological survey. This involves determining the composition of the soil and rock that underlie the surface at the construction site. The nature of the soil, the depth at which bedrock is located, and the existence of faults or underground streams are subsurface factors that help civil en- gineers determine the type and size of the structural foundations or the weight of the structure that can rest on them. In some areas, these can be critical factors. For example, Mexico City rests on a lakebed with no bedrock near the surface ; it is also located in an earthquake zone. The height and weight of buildings must therefore be carefully calculated so that they will not exceed the limits that are imposed by the site. Geological samples are most often obtained by borings, in which hollow drills bring up cores consisting of the different layers of underground materials. Other devices that are used in geological surveys are gravimeters and magnetometers. The gravimeter measures the earth’s gravitational pull ; heavier rocks like granite exert a stronger pull than lighter ones like limestone. The magnetometer measures the strength of the earth’s magnetic field. Again, the denser the rock, the more magnetic force it exerts. 104A third instrument is the seismograph, which measures vibra- tions, or seismic waves, within the earth. It is the same instru- ment that is used to detect and record earthquakes. In a geological survey, it is used by setting off small, man-made earthquakes. The waves created by a blast. of dynamite buried in the ground reflect the different kinds of rock under the surface ; hard or dense rocks reflect the waves more strongly than soft of porous rocks. Chain surveying The method of chain surveying to measure @ field boundary between point 1, 2 and 3 iMeasure distance from chaining line to tree; 2 Arrows; 3 Chain length 30m; 4 Measure offset to road 5 Arrow, 6 Ranging rods; 7. Measure part chain length Chaining is a simple but reliable method of surveying based entirely on the accurate measurement of length. The equipment required includes a land chain, arrows and ranging rods. The area to be surveyed is divided into a series of triangles, the sides of which are measured using the land chain. If the distance to be measured is greater than one chain in length then ranging rods are positioned along the line to ensure that a straight route 105is used. For very long lines the arrows are used to mark the beginning and end of each chain length. The distance to important objects such as trees, fences or buildings which do not lie directly on the chaining line are measured using offsets taken at right angles to the line. This method of surveying is particularly suited to agricultural applications such as measuring field sizes or mapping a plantation. Using a level to find the difference In height between two points 1 Leveling staff; 2 Levet & Line of colmation, 4. Staff intercept 5 Upper stadia (035m) 5. Centre crosshair; 6 Lower stadia (015m) 7. Horizontal distance CALCULATIONS 1 Point 2 is 25 m higher than point 4, ie. 275 m - 025 m = 25mm 2 Height of point 1 Is 50 m therefore the height of point 2 is 525 m, ie. 50 + 25m = 525 m, 3. The staff intercept is the difference between the upper and lower stadia readings. The horizontal distance between point 2 and 3 is 100 x the staff intercept, ie. stadia intercept = 035 m — 01% m = 02 m distance = 100 x 02 m = 20 metres 106The automatic level A level is used to find the height between two points or may also be used to calculate the distance between them. A surveying level is effectively a spirit level attached to a telescope which is mounted on a tripod In order to find the difference in level between two points a level tripod and staff are used. The level is set up approximately midway between the two points. A staff is held at the first point and the reading noted. It is then taken to the second point and a further reading is taken. The difference between the two readings is equivalent to the difference in height between the two points. To find the distance from the level to the staff stadia readings are taken. Inside the eyepiece of the level is a centre cross hair, an upper stadia line and a lower stadia line. By taking the reading on the staff at the two-stadia lines, trigonometry can be used to calculate the distance between the staff and the instrument. The theodolite n of 4 A Using a theodolite to carry out traverse 1 Take bearing from North and sight onto target located at 2 2 Angles are always measured in a clockwise direction, 3. Move theodolite to target tripod and measure angle to target sited at 3, 4 Horizontal distance measured using chaining or the staff and stadia method 107The theodolite is an instrument for measuring both vertical and horizontal angles very accurately. To carry out a traverse requires a theodolite, tripods and a set of targets. Ideally a route should be selected that starts and finishes at the same point so that the system can be self-checking. The traverse involves setting out a target and recording the angle to it given by the theodolite. The target can then be removed from the tripod and be replaced by the theodolite. The next target is positioned on a new tripod and the process is repeated. If distances need to be measured then the chaining method can be used between target sites. Alternatively, if a staff is available then the stadia method can be used as described for the level. Photogrammetry Photogrammetry is the technique for the accurate determination of the shapes, sizes and positions of objects by means of photographs. By taking a photograph of the same object from two different positions a stereoscope can be used to superimpose the images to produce a three dimensional effect. In practice aircraft are used to carry out a survey of 108 Tmo overlapping piderasere called @ stereo pair Aerial photographs The aircraft takes a strip of photographs. In order to obtain good stereo imagery each photograph should overlap the last one by approximately 60 per centan area by taking a series of overlapping photographs called stereo pairs. Interpretation of aerial photographs is carried out by viewing with a stereoscope designed to clarify contours and enable meas- urements to be made of essential features so that detailed maps of the region can be made. When viewed using a stereoscope objects from the overlapping area of the Photographs are seen in 3D. This ilusion is created because the objects are photographed from different angles due to the movement of the aicraft. 1 Stereoscope; 2 Stereo pair VOCABULARY * surveying 1) tréc dac, do dac ; 2) tham do e chain surveying (= chaining) do dac bang thudée cudn ¢ plane surveying trac dac phang (66 qua dé cong cia trai dat) * geodetic surveying tric dac cé tinh dén 46 cong cta trai dat 109110 geological surveying tham dd dia chat aerial surveying trac dacidia hang khéng curvature dé cong force of gravity trong luc, luc trong trudng steel tape thudc cudn bang thép chain thuée xich (cd chiéu dai tiéu chudn) ; land chain thude do ruéng dat chainman cén bé do dac plumb bob day doi lead weight qua doi expansion sy nd ra contraction su co lai breaking chain do bang céch chia thanh doan nhé (do dia hinh dée, méi doan ngén hon dé dai thuéc) transit may kinh vi tranzit transitman ngudi quan tréc bang m4y kinh vi theodolite may kinh vi (loai do géc chinh xde hon transit thuong) cross hairs vach chit thap sexagesimal system hé luc thap phan (60) centesimal system hé bach phan (100) stadia hair vach do xa (trén mdy kinh vi) rod thanh mia ; = staff (ding 6 Anh) = ranging rod contour line dung déng mtic, dubng binh do (ndi cdc diém cé cao dé tuong duong) plane-table alidade may kinh vi co ban phang ding lam ban vé surveyor’s level may thuy binh bubble level 6ng bot nuéc, thuéc ni-vo, éng thuy binhlevel/levelling rod, levelling staff mia ng4m mic, mia do dd cao bench mark méc d6 cao, diém cao dé chudn altimeter may do d6 cao (dua vao dp sudt khi quyén) reading vach chia, thang do wave song mosaic thuat ghép anh (trong trac dia hang khong) triangulation phép tam gide dac bedrock da géc, da nén fault 1) cde khuyét tat (nhu tui bin, sudi ngam vv. trong long dét); 2) ditt gay, phay (dia chét) boring 1) cong tac khoan (tham do)); 2) mau khoan gravimeter méy do trong luc, trong luc ké& magnetometer tit ké, mdy do cudng dO tit trutng cla tréi dat limestone da voi seismograph dia chan ké seismic wave song dia chan blast su né, vu né ; to blast : né chaining do dac bang thuéc measure offset do ngang (so uvdi duong thang kéo thudc), do vuong géc ; measure offset to road : do ngang ti vat thé lam chudn (cay, song ...) téi tuyén duéng can xdc dinh to map a plantation vé ban d6 khu vuc rudng dat level 1) cao dd, mtic, myc ; 2) méy thiy binh, 6ng thiy chudn, thuée lay myc, nivd automatic level may thiy binh ty dong spirit level may thiy binh, nivo cén levelling su do cao, su do 46 cao so véi mat thay chudn 11« trigonometry lugng giéc « line of collimation duéng chudn true « datum méc do, méc tinh todn d6 cao, s6 0 luc dia « to intercept chén, chan e traverse dudng gip khtc, dung dic dic « a set of targets mét bé coc tiéu e bearing géc theo phuong vi ngang (gid#a mét duong thang va duong kinh tuyén gan dudng thang nhét) « site : 1) vj tri, noi, ché; 2) cong trutng, hién trudng « to site dat, dé (6 mét vi tri nao dé)) ; a target sited at point 3 mét coc tiéu duge dat 6 diém 3 « photogrammetry (chup anh) tréc dia hang khong * stereo scope 1) may ngém hai éng kinh 2) éng kinh dip (6 may dnh tréc dac hang khong dé c6 thé chup hai anh cia citng mét vét thé hay mot ving citng luc) stereo pair cap (hai) anh géi nhau (chup bang ng hinh dup, dé logi b6 dé bién dang hode mé nhat 6 ria dnh) e to superimpose the images chéng anh, géi anh lén nhau DUSCUSSION 1. What kind of surveying measures the earth’s surface as though it were a flat surface ? How large an area can be covered by this kind of survey without a significant error ? 2, What kind of survey takes into account the curvature of the eth ? 3. What kinds of measurements are included in a survey ? 4. How long was a chain ? What was it used for ? 5. What is used in modern surveying instead of a chain ? How is it leveled ? 1126. How are distances measured between elevations ? How are distances sometimes measured on a slope ? 7. What does a transit have ? 8, How are angles measured ? 9. How can stadia hairs be used to determine distances ? 10. What can be used to make contour map ? 11. What can contour line be made ? 12, What is a bubble level ? In what surveying instrument is it used ? 13. How does the surveyor determine vertical elevation from the reading on the level rod ? 14. How are heights or elevations given on maps ? How is sea level in an given area determined ? 15. How can distances be measured by means of light or sound waves ? Where is this method particularly useful ? 16. Why are pictures in an aerial survey arranged to overlap in a mosaic ? 17. What does geodetic surveying involve ? 18. What does geological surveying involve ? 19. What are some subsurface factor ? What can they determine ? 20. How are borings obtained ? 21. What does a gravimeter measure ? 22. What does a magnetometer measure ? 23. What does a seismograph measure ? 8-THTA us"Lesson 2. FOUNDATIONS IN SUBSIDENT SOILS Ground subsidence and seismic activity are quite a common occurrence in hot climatic regions. In practice, soils are customarily divided into two categories in terms of their subsidence *: = soils falling under category I show appreciable subsidence under external loads but settle little (usually within 5 cm) due to self-weight. In these soils, subsidence is pronounced within a con- fined deformable zone whose depth is approximately half as large again as the width of the footing ; = soils falling under category II exhibit considerable subsidence (over 5 cm) both under external load and self-weight and need stabilization at a large depth when used to support footings. Also, allowance should be made for what is known as negative skin friction in pile foundations. Caused by the settlement of the over- lying strata of collapsible and saline non-collapsible soils (largely due to extraction of salts and formation of cavities), this friction imposes an additional downdrag load upon piles. Quantitatively, it depends on the duration and sequence of loading. Where the soils are surcharged in advance so that there is enough time for consolidation settlement to take place, no negative skin friction is likely to occur when the piles are driven ‘into the ground. Negative skin friction can be minimized in many ways. For example, we may build an embankment (if one is provided for by the design) in advance and make vertical drains or drainage slots to facilitate consolidation and to give the soil enough time to settle before piles are driven. An alternative approach is to extract salts from the soil foundation, which is particularly effective where the soil contains a high proportion of low-solubility salts. Finally, the piles may be wrapped in a plastic film or given a coat of bitumen to reduce their friction coefficient. 114Desalination is carried out in the folowing manner. To begin with, we dig an excavation 0.7 to 1 m deep so that it is by 5 to 8 m larger than the proposed structure. Then, we fill the pit with fresh water, adding more water from time to time to maintain its level at 0.4 m above the bottom of the pit. Where the saline soil layer is more than 3.5 m deep and also where its coefficient of permeability is under 10‘ m/day, it will pay to drill boreholes at least 0.9 m in diameter and to fill them with medium or coarse sand or chemically stable slag. The spacing of the boreholes should be from 3 to 8 m, and their depth should be equal to 0.8 or 0.9 of that of the saline soil layer. The salinity of the water is determined every day, and the water is changed as soon as a state of saturation sets in. With some salts, it is advisable to use hydrochloric - or sul;huric-acid solutions (of max. 30% concentration) instead of fresh water. After the salts have been thus extracted, the soil should be compacted as appropriate. To this ehd, use may be made of a sand or gravel-sand fill, sand compaction piles, etec. Desalination may give rise to cavities similar to those in karst formations, which should be eliminated by heavy tamping or by clay or cement grouting. The usual construction remedies for building sites where subsident (collapsible) soils are encountered are as follows : - partial or complete removal of subsidence ; - piercing through the weak layer (or part thereof) with pile foundations or deep footings ; - complex stabilization, including removal of subsidence, structural reinforcement, and protection against water. The subsidence of soils falling under category I can be removed by repeated dropping of the heavy block 4 to 6 t in mass and 1.4 to 1.8 m in diameter onto the ground’s surface 115until the soil is compacted to a depth of hole about 3 m deep (this is known as deep dynamic compaction). Foundations are then built in rammed holes over a cushion of compacted soil. With soils falling under category II in terms of their subsidence, the usual methods are densification by prewetting or by sand compaction piles. In some cases, collapsible soils may be densified by subaqueous blasting, or blasting at depth, solution grouting, or thermal methods. Where time is a factor, loess can be densified by combined prewetting and blasting at depth. Compaction depths of 10 to 30 m have been reported. With this approach, the soil is prewetted at a carefully controlled rate through inverted drainage wells until a state of impending instability is attained. This weakens the internal bonds in the soil, although the soil still retains its structure. Then, the soil is subjected to repeated dynamic compaction by subterranean blast waves from charges exploded at a few seconds’ intervals. As a tule, up to 600 blasts are required per hectare. In their effect, the blasts are equivalent to intensity 12 seismic waves and, if the charges are exploded in a carefully designed sequence, can raise the density of the collapsible soil to several times the original value. Under normal conditions, 3 to 5 days are usually needed to compact up to 100 thousand cubic metres of the soil, which is a mere fraction of the densification period in prewetting. Also, the method ensures a uniform compaction over the entire mass of the soil. Full-scale field application of the above method has shown that it can offer a maximum efficiency at a minimum cost (the cost per square metre of stabilized soil being one half to one-third that with pile foundations) and minimum labour consumption. It appears that the technique can stabilize collapsing soil well enough to give support to practically any critical structure. 116As an alternative, collapsible soils can be stabilized by precast and cast-in-situ piles with plain and enlarged tips, sunk in boreholes or cast in cavities produced by weight-dropping or blasting at depth. : As applied to subsident soils. the most promising trends in foundation engineering will be : 1. to use discontinuous strip footings in compacted trenches to support bearing-wall buildings ; to develop suitable technologies and equipment to make the foundation pits (trenches) by compaction ; 2. to use isolated footings (with a bearing capacity of up to 8 MN) installed on a bed of harsh concrete, broken stone, gravel, or a mixture of sand and gravel forced into the bottom of compacted cavities ; 3. to compact the soil to a depth of 5 to 6 m by dropping blocks having a weight of 7 to 12 t and a base diameter of 2 to 2.5 m on the ground’s surface ; to develop adequate front-end im- plements enabling cranes and excavators to handle such blocks ; 4. to compact the soil by subaqueous blasting or blasting at depth and thus to simplify the construction procedure, minimize the seismically unstable area, raise the dry density of the soil to 1.7 or 1.75 t m%, and stabilize post-compaction deformation ; to increase the depth of subaquous blasting from 1.5 - 2m to 5 - 6m ; 6. to densify the soil by prewetting with lower water require- ments, shorter treatment, and shorter post-treatment settlement ; 7. to stabilize saturated loessial soils ; to enlarge the bottom portions of stabilized-soil foundations ; to improve the bearing capacity of the stabilized soil from 1.5 to 3 MPa ; to develop technologies by which the bearing capacity of the stabilized soil can be. varied both in depth and in plan in a desired manner ; 8. to develop optimum precast and in-situ pile constructions offering a higher bearing capacity ; to develop technologies by 117which holes for cast-in-place piles with enlarged points can be made and compacted ; to work out advanced hole-making techni- ques for cast-in-place piles in saturated loessial soils Today, building foundations in subsident as well as fill-up, saline and highly compressed soils involves a good deal of ram- ming and spudding. These techniques being used on an ever wider scale, the need has become apparent for novel advanced machinery that will do a better job in a shorter time. In seismically active regions, preference should be given to pile foundations which are generally more stable and reliable than their spread counterparts. Seismic loads impose considerable horizontal forces on piles, so the pile shafts have to meet more stringent requirements as regards workmanship and driving (among other things, the muts be free from cracks, cavities, and similar defects) and need reinforcement. Selecting an Optimum Foundation Where the design depth of a foundation does not exceed 2 m, good performance is generally shown by high-cap pile founda-tions with the piles driven by ramming and spudding, and also by cast- in-situ continuous or isolated footings resting on a rammed soil foundation (where ground subsidence is likely to occur). Pile foundations are continually gaining popularity in hot regions, which stems from the local soil conditions and seismicity. Horizontal loads imposed on reinforced concrete piles during earthquakes can be minimized by providing an intermediate cushion of sand, broken stone, or any other suitable granular material (as has been done in Chile). Owing to a cushion like that, the number of piles required by design can be reduced. Pos- sible alternatives to friction piles in the weak saturated soils of seismically active regions are sand cushions, vertical sand drains, drainage slots with surcharging fills, rammed lime piles, and com- paction piles, and chemical stabilization of the soil foundation. As 118a matter of fact, thick sand cushions are already in use when building foundations in weak saturated soils. It should, however, be remembered that in seismic areas the dynamic compaction of the sand is frequently accompanied by sand liquefaction. So, making thick sand cushions can hardly be regarded as an acceptable way out. The efficiency of a pile foundation largely depends on the type and length of the piles and the driving technique employed. Examples of piles that can be recommended for hot climatic regions are given in Fig 1. The field of application of a given pile construction is determined by the geology of the site and the load to be supported. Prismatic (straight-side) precast piles (see Fig 1a) look particularly attractive since they require minimum labour in manufacture. They can be used to advantage as end-bearing piles in coarse-gravel soils where almost all of the shaft bearing capacity can be utilized (the td) Ce) pour : | 4 Fig 1, Pile types recommended for soils encountered in hot climatic regions (a) prismatic (straight-side) precast pile; (b) precast pile with an enlarged tip ; (6) wedge-shaped tapered precast pile ; (d) double-taper precast pile ; {e) pyramidal precast pile ; (v) castin-place pile ; (g) combined pile + reinforcement ; 2- precast reinforced concrete pile or column ; 3- soil-cement ; 4- concrete (a) (6) (6) 119allowable design load on the pile being equal to 80% or even 85% of the shaft bearing capacity). Where they are used as friction piles, the utilization efficiency of the shaft material ranges between 30 and 35% in non-subsident soils and between 20 and 25% in subsident soils. Quite appropriately, prismatic friction piles may only be recommended where the load to be supported is not very heavy. Where firm soils underlie a layer of weak soil 8 to 12 m deep, it is advisable to use precast piles with enlarged tips (see Fig. 1b). The bearing capacity of such piles is 2 to 2.5 times as large as that of prismatic piles of the same length, while the concrete requirements per unit of bearing capacity are reduced to 1/1.5 or even 1/1.7 of the ordinary value. Piles like that are also efficient in weak inundated soils resting on dense sand or firm clay. In this case, they act as end-bearing piles. In soils falling under category I in terms of their subsidence, good performance has been shown by short pyramidal piles (see Fig. lc, d and e) tapering at 12 to 13°. The bearing capacity of tapered piles is 2 to 2.5 times as great as that of straight-side piles of the same volume. They can be used most effectively where dense soils lie at the surface. ‘Tapered precast piles are also a good choice in saturated clays and sands having an elastic modulus of at least 8 MPa at the pile-tip level. On the other hand, they should be avoided in collap- sible clayey soils. Cast-in-place piles are (see Fig. 1f) particularly efficient in non-inundated clayey soils where they can be made at a minimun of cost and labour. In weak saturated soils, they should only be used if the casing can be driven through the entire layer of the weak soil down to the bearing stratum. The holes should be filled 120a a with high-early-strength concrete, because, after the casing has been withdrawn, the side friction of the soil is insufficiently high to maintain the side surface of the concrete mix vertical. In saline soils, appropriate measures need to be taken to protect the freshly placed mix against salt attack. For this purpose, use is made of sulphate-resistant cements and suitable admixtures. On some occasions, the walls of the holes are given a coat of a water glass solution, urea resin, or some polymeric material which are highly resistant to salt attack and prevent ingress of salts into the pile body. One or several enlarged portions may be provided along the shaft to improve the bearing capacity of cast-in-place piles. It has been found that each of the enlarged portions will resist the imposed load on its own if their spacing is at least two their diameters. The total bearing capacity of the pile is seen to be the sum of the bearing capacities of the individual enlarged portions and is numerically equal to the cross sectional area of the enlarged portion times the design bearing capacity of the soil at a given depth. The rate of drilling decreases with increasing depth, so provision of enlarged portions results in a higher pile bearing capacity and lower materials requirements. Examples of piles recommended for soils falling under category II in terms of their subsidence are given in Fig. 2. Where the stratum of collapsing soil is more than 25 m thick, precast piles may not be used at all, while casting piles in situ would call for expensive drilling equipment. Under these conditions, a far better plan will be to sink a precast pile into a predrilled (or otherwise made) hole and fill the free space left between the sides of the pile and the walls of the hole with a suitable material. 121Fig2. Pile types recommended for soils faling under category Il in terms of {b) combined pile ; (c) cast.in-place pile. + concrete ; 2- space filled with loose material ; 3- two layers of film over @ coat of lubricant ; Ps-w- pressure due 122 subsidence (a) precast pile : to self-weight of soil ; Psub- ink tial pressure due to subsidence VOCABULARY « subsident soils dat yéu (hin, sut) ¢ ground subsidence tinh yéu cua dat, do yéu cia dat « appreciable cé thé cam nhan/th4y duge ¢ external load tai trong ngoai «to settle 1. hin ; 2. ling dong e self-weight 1. fae lugng ban than ; 2. tai trong tinh « footing méng (cia cot hode tung) « allowance should be made for can phai tinh dén, can phai chiéu c6 dén ¢ skin friction ma sét bé mat, ma sat triét ¢ pile foundation méng coc | ¢ overlying strata (strata la sé nhitu cia stratum) céc dia tang 6 tren ¢ collapsible dé sut Ié © saline man, cd mudi © cavity hang, héc © downdrag adj kéo xuéng ¢ sequence of loading sy lién tuc cia tai * to surcharge 1. lam qua tai ; 2. chat them cho qué tai | tconsolidation settlement sv lin do xt ly, lin do gia cutmg drainage slot 16 thoat to extract rit ra, chiét xudt, trich ra low-solubility salt mudi it hoa tan to wrap quén, bao, goi bitumen nhya bitum, nhua dudng desalination su khit man, su khit mudi excavation 1. hd dao, hé mong ; 2. cong tac dao, sy dao dat pit ho permeablity kha nang tham, kha nang thdm théu, do thdm théu borehole 15 khoan coarse sand cAt thd slag xi spacing khoang cach, 46 céch nhau solution dung dich to compact nén chat compaction sy nén chat, su nhéi chat, su dam chac, uinform compaction : sit dém chdc déng déu to this end, use may be made of a sand or gravel- sand fill, sand compaction piles dé dat duge diéu nay, c6 thé si dung cdch lép cét hoc lap cat sdi hén hgp, cde coe nhéi cat karst formation thanh hé caxto to tamp dim, nén chat * to grout dé via, phut vila remedy st stfa chifa, sy khde phuc to pierce khoan (xuyén), xuyén qua 123124 complex stabilization (phuong phap) én dinh phtic hop, én dinh két hgp reinforcement sy gia cudng, cét thép. dynamic compaction 1. (phugng ph4p) dam nén dong luc ; 2. phuong phap ép dat bang né min trong long dat to ram dam, dap cushion dém, lép dép densification su lam chac lai, su lam dac lai to prewet tuéi nuéc trudc, lam u6t trudée subaqueous blasting né min duéi nuéc loess hoang thé drainage well giéng thodt (thu nude dé bom di) internal bonds nhiing lién két bén trong precast dtc trudc cast-in-situ duc tai ché, tai vi tri thiét ké (= cast-in- place) strip footing mong bang, méng dai (= strip foundation); discontinuous strip footing mong bang khong lién tuc bearing wall building nha cé co c&u chiu luc bang tuong xay isolated footing méng rvi harsh concrete bé tong ph6i liéu lén front-end kiéu la@t ra sau (ndi v2 gau may xtc) adequate front-end implement phuong phép thi céng (dao, dép, dam dét nén) bang may dao da nang (gau 14t) slag concrete bé tong xi compacted soil-cement dat tron xi mang dam nén chat lean concrete bé tong méc thap (ding dé dé lét day mong)construction procedure 1. thi tyc x4y dung ; 2. cde buéc thi cong xdy dung post-compaction deformation sv bién dang sau khi dam nén post-treatment settlement sy lin sau khi xt ly cast-in-place = cast-in-situ building foundations in subsident as well as fill up, saline and highly compressed soils viéc x8y dung mong trén nén dat yéu, d&t mugn, dat man va dat dam hét stte chat to spud khoan (déz), duc ; ép coc novel mdi la novel advanced machinery méy méc tan tién hien dai stringent nghiém ngat, chat ché workmanship trinh d6 tay nghé to drive déng (coc, cit) erack sy ran nit defect khuyét tat high-cap pile foundations méng coc dai cao, mong coc mu cao seismicity do dja chin, cp. dong dat prismatic (thudc) hinh lang tru tapered (thudc dang) thon, hinh con high-early-strength concrete bé tong dong ket nhanh admixture (chat) phu gia, chat pha tron DISCUSSION 1. How soils in hot climatic regions are customarily devided ? 2. What is the property of the soils falling under category I 125and category II ? 3. What does negative friction mean ? 4. By which way negative skin friction can be minimized ? 5. How desalination is carried out ? 6. What's construction remedies for building sites ? 7. How subsidence of soils falling under categories I & II is removed ? 9. What is the effect of the foundation fortification methods ? 10. What promissing tendencies are applied to subsident soils in foundation engineering ? 11. What kind of foundation is preferably applied to seismical region ? 12. How to minimize horizontal load imposed on reinforced concrete pile during earthquake ? 13, What does the efficiency of pile foundation depend on ? 14. Where the straight-side prismatic pile is advisably used ? Why it is so attractive ? 15. Where precast concrete pile with enlarged tip can be used ? What is the bearing capacity of it in comparision with prismatic | pile ? 126 iLesson 3. PILING DESIGN INNOVATION Pile design is undergoing a radical change in Hong Kong. This has come about following the introduction in 1990 of revised building regulations which advocated the use of rational design approaches based on accepted engineering principles. Before this, piling practice in the Territory was based upon semi-empirical rules, or the Geotechnical Engineering Office (GEO) rules. For bored piles, granite with an N-value greater than 200 was taken to have a presumed allowable bearing pressure of 1200 kPa, while the allowable skin friction was only 10 kPa. Displace- ment piles were generally driven to a Hiley set, usually without separate settlement calculations. This state of affairs developed for two reasons. First, the ground in Hong Kong is very complex, the weathered granite profile can extend to a depth of 100 m, but within the weathered profile intact core stones up to a few meters in diameter are found. Furthermore, much of the prime development land has been reclaimed and piling can often encounter old sea walls and other obstructions. The second reason is that the commercial pressures on land utilization have stifled innovation in design since private developers want answers from their designers quickly. Another change in the Hong Kong piling market is the phasing out of hand-dug caissons. These have traditionally been used as the foundation for development on steep slopes especially where access is difficult. These were often excavated by husband and wife teams to depths of 40 m and up to 10 m diameter. Workers rarely wore breathing apparatus and there has been an increasing incidence of pneumoconiosis associated with the inhalation of silica dust. The process also had a poor safety record with injuries and fatalities resulting from the blowing of caisson bases and collapse 127of rings. Lobbying by workers has resulted in the recent introduction by the government of a compensation scheme and setting a target date for the complete ban. A range of machine-dug bored piles are in use in Hong Kong for producing piles up to 3 m in diameter including : conventional reverse circulation drills under bentonite both with and without down-the-hole hammers ; grabbing under water with the use of full length casing advanced and extracted by oscillator, barrette piles, etc. In recent years, with high rise developments taking place on sites where rockhead is in some cases deeper than 100 m, friction bored piles are becoming increasingly acceptable, Load tests on in- strumented bored piles have been carried out to verify design as- sumptions and assist in the understanding of the load transfer mechamism. These tests generally indicate that significant skin friction can be mobilized in the granitic saprolites (completely to highly weathered granite). However, some surprisingly low skin friction values have been obtained for piles constructed under bentonite. The reasons for this have not yet been established because of the reluctance of the consultants to investigate. Design will remain conservative until anomalies such as these can be explained. During the 1980s, high rise developments were constructed in the outlying New Territories for the first time, and an entirely new problem arose due to the presence of cavernous marble. This was found to contain dissolution features to depths in excess of 130 m and caverns (usually infilled) up to 20 m across have been identified. In order to categorize the marble, GEO developed a marble rock mass classification system based on the percentage of cavities. The classification enabled zoning of sites, suggested appropriate pile types and indicated potential construction problems. 128Originally, large diameter machine-dug bored piles were used to found on sound marble rock, but recent projects have seen the successful use of more economical heavy section H.-piles with strengthened toes to enable hard driving through the surface karst. Trials are also under way on a ‘drill and drive’ piling system in which an open ended tubular pile is driven and then drilled using either an eccentric Odex-type reaming tool or. down- the-hole hammer. GEO is currently collating results of pile load tests with the aim of building up a database of pile performance under local conditions, and work is in progress to carry out instrumented pile load tests on normal piles and piles with controlled defects. These will be used to examine the range of behavior of different construction techniques in a controlled test bed site categorized by extensive field and laboratory testing including stress path tests carried out at the central public works laboratory and could provide the data needed to enable more challenging design. VOCABULARY e piling (sy) dong cc, cong tac déng coc » to advocate 1. tan thanh, chi truong, tng ho ; 2. bao chita, bien hd « semi-empirical cd tinh chat nia kinh nghiém e intact (cdn) nguyén ven « displacement pile ci thay thé, cit chuyén vj « weathered granite profile mat cdt dé granit phong hod to stifle innovation in design bép chét sy d6i méi trong thiét ké 9-THTA 129¢ private developer nha kinh doanh bat dong san tu nhan ¢ caisson 6ng ép khi nén © pneumoconiosis bénh bui phéi e inhalation su hit vao « to have a poor safety record co mtic d6 an toan (dugc ghi nhan la) thép ¢ lobbying by workers has resulted in the recent introduction by the government of a compensation scheme and setting a target date for the complete ban do nhitng kién nghi ctia céng nhan, gén day chinh phi da dua ra mot Phuong dn bé6i thuéng va dinh mot thdi diém cho viée cém hoan toan phuong phap nay ¢ machine-dug bored pile coc nhéi dong bang may ¢ barrette pile coc ba-ret ¢ rockhead lép da me, da g6c, da nén (= bedrock) ¢ friction bored pile coc nhéi ma sdt ¢ anomalies céc hién tugng di thuéng, cdc hién tugng bat binh thuang * &ranitic saprolite bin granit; dat granit * cavernous marble dé cm thach rong * cavern 1. hang dong ; 2. h6c, 16 réng e section H-pile coc tiét dién hinh chi H reaming tool dao khoét (dung cu khoan 15 rong thém) ; ci duc khoét ¢ to collate d6i chiéu, kiém tra DISCUSSION 1. Why pile design is undergoing a radical change in Hong Kong in 1990 ? 1302, What situation of piling practice was before this technical revolution ? 3. Which value of allowable bearing pressure of granite with an N-value greater than 200 was taken for bored piles ? 4. For what reasons the above mentioned method was developed ? 5. What was in the Hong Kong piling market 7 6. What usually happened with workers who dug caisson by hand and why ? 7. Why friction bored piles are becoming increasingly accept: able in Hong Kong in recent years ? 8. For what purpose load tests on instrumented bored pile have been carried out ? And what parameter these tests can indicate ? 9. How did GEO categorize the marble ? 10. What had the marble rock mass classification system enabled and suggested ? 11. What aim is GEO collating results of pile load test with ? 12. For what purpose will pile load tests be used ? 131Lesson 4. VACUUM CONSOLIDATION Soil stabilisation using Mebradrain in combination with a vacuum system is applied in areas with compressible and water saturated soils where the soil stability during the filling process may be endangered or on those Places where no extra surcharge material is avallable. Very short consolidation periods are possible by using the atmospheric pressure in combination with a surcharge fill. Vacuum assisted consolidation Provides an effective alternative to surcharging or preloading soils. Instead of increasing the effective stress in the soil mass by increasing the total stress with a con- ventional surcharge, an negative Pressure preloads the soil by reducing the pore pressure while maintaining a constant total stress. Conceptual design A working platform is constructed consisting of a 0.8 m thick layer of drainage sand through which vertical drains are placed in the soil to a depth just above any underlying sand layers. A fiexible polyethylene liner covers the area and keys into an anchor trench that seals off and provides a water tight seal. A Perforated pipe collector system is placed beneath the liner to extract the pore water. MPOE-liner 132Specially prepared vacuum pumps capable of pumping water as well as air are connected to the collector system. The pumps are able to create a vacuum of maximum 95 kPa. It is essential that the site to be consolidated is totally sealed and isolated from any surrounding permeable subsoils. If intermediate sand layers or lenses occur, a vertical liner or slurry trench has to be constructed around the site perimeter to avoid loss of vacuum. Even more important is to avoid air leaks. As pin holes or cracks in the liner are difficult to locate and repair, the liner Should be covered with water, also minimizing foot traffic, and damage from wildlife. All fill materials must be free from stones or sharp objects. If a fill is placed on the liner during the vacuum period it may be necessary to add a leak detection system under the liner to help locate leaks. Soil stabilization using a vacuum system in combination with Mebradrains has been successfully applied in many areas of geotechnical engineering. ‘Typical applications are : «© Construction of highways, railways and airports « Surcharge for bridge approaches © Preloading of landfills « Dewatering of chemical waste «Soil cleaning Theoretical design assumptions The adjacent graph shows the graphical layout of the stresses in the subsoil at a vacuum of 80 kPa. The total stress in the soil will not change during application of the vacuum, however, the effective stress will increase due to dissipation of the pore water pressure as caused by the vacuum. 133Due to limitations of the pump and leaks in the sealing of the area, a maximum vacuum of 80 kPa is reasonable to expect. This equals a surcharge load of approximately 45 m of sand. Settlements will however not occur id at the same rate as an 1 Wore mete, | * equal surcharge load ae due to differences in ” total stress. ~#0 ee we Compared with the eee conventional surcharge load, the pore water Pressure will not initially tise, preventing instability. However, when vacuum is combined with an additional surcharge, the vacuum has to be applied before the surcharge is placed, Pore water pressure will stay at the same level and deformation of the subsoil will be avoided. Monitoring Settlements, negative pressure and soil behaviour have to be monitored to determine the exact Progress of the consolidation. Vacuum will be measured near the pumps as well as under the liner to ensure the negative pressure is present throughout the treated area. Pore pressure meters will determine the dissipation of pore water pressure over time. Inclinometers at the border of th area can record the horizontal soil movements. Settlement plates placed 134at regular intervals determine vertical deformations. The t 70 chains total volume of WR TEN | Mn {i I | be compared Tu [eI ll with the total ie [eabeceisaiit wen TI] amount of pore to 100 7000 yo000 100000 water that has Time in doys | Wu deformations can Settlements (m) N | | 3 been extracted from the subsoil. For an exact prediction of the expected settlements a thorough soil investigation is necessary. Applications and references Vacuum consolidation was proposed 45 years ago by Kjellman, the inventor of wick drains. The system became popular when wide width geomembrane liners became readily available and could be welded in the field. ‘A number of projects were executed in the Netherlands, France, Malaysia, Sweden and China. One of the largest projects was the Ease Pier Project in Tianjin Harbour. The total area of a reclamation of a hydraulic clay fill with a thickness of 20 m was consolidated with a vacuum system. In the Netherlands, vacuum consolidation has been used on several projects. It was applied to increase the stability of very large embankments which were located near existing buildings. The vacuum system has to prevent horizontal deformations in the sub- soil during the construction of the embankments. ‘Another application was the preloading of a site where a landfill was planned. To avoid large settlements of the subsoil during construction of the landfill, resulting in excessive forees on the liner, a vacuum system was applied. 135136 Chemical waste was successfully dewatered with a vacuum system at a zinc plant in the southern part of Holland. VOCABULARY Mebradrain (nhan hitu thuong mai cia thiét bi thodt nutée cia hang Geotechnics Holland BV) compressible and water saturated soil dit co thé nén duge va bao hda nude surcharge fill phan dat dé/lap thém consolidation sy lam chéc, su gia cd, sy gia cutng Pore pressure dp luc nuéc thim stress ting sudt drainage sand cét hut nuéc, cat thim vertical drain hé thong thodt nuéc (béc thém nuée ww) theo phuong thang ding flexible polyethylene liner tém nhya pélyétilen dan hdi perforated pipe collector system -hé théng 6ng thu nuée ed duc 16 6 thanh 6ng to seal bit kin, han dinh kin slurry trench hao cd chita hd xi mang hodc bin than perimeter chu vi, ving ngoai if intermediate sand layers or lenses occur, a vertical liner or slurry trench has to be con- structed around the site Perimeter to avoid loss of vacuum néu gap lép cét ndm 6 gita (lép dat) hoac thdu kinh bin tich tu lai thi lép tung bao bang nhua hoae hao bin can duge xay dyng bao quanh chu vi cong trugng dé tranh m&t chan khong air leaks su rd khong khipin hole 16 cham kim « leak detection system hé théng phat hign rd ri e to locate xéc dinh vi tri, dinh vi bridge approach phan dudng tip giap voi dam cu « subsoil tang dat cai, dat géc dissipation su tiéu tan, st tiéu hao « to monitor theo doi e negative pressure 4p hic 4m « inclinometer dung cu do d¢ nghiéng/déc ; dung cy do do chuyén vi ngang cia lép dat « deformation su bién dang Tianjin Harbour bén cing Thién Tan (Trung Quéc) DISCUSSION 1, What advanced cousolidation method can be used instead of conventional surcharging and preloading soil ? 2. What is the working platform constructed for the purpose of soil stabilization ? 3. What type of soil the vacuum method can be used in com- bination with Mebradrain ? 4. What is the main devices that vacuum system consists of ? Describe the system. 5. What is important for execution by this method ? 6. What are harmful things that should have been avoided during implementation of the work ? 7. Is the total stress in the soil changing during application of the vacuum ? 1378. Why does effective stress in the soil increase ? 9. What maximum value of vacuum is expected ? 10. What should be monitored in order to determine the exact Progress of the consolidation ? 11. For what purpose the negative pressure should be measured and where does measurement take place ? 12. What kind of important factors should be determined and by what devices ? 13. When the vacuum method was proposed and by whom ? 138Lesson 5. THE MEBRADRAIN SYSTEM 1. GENERAL Prefab vertical drains were first used in Sweden in 1937. These drains were manufactured in cardboard, the so-called cardboard wick. Approximately 10 years earlier sanddrains were developed in California to expedite consolidation. Especially in the Netherlands sanddrains were applied on a large scale since 1950. Dutch soil mainly consists of clay and peat layers which can sometimes reach great depths. A sandy surcharge was often placed on top of compressible subsoil in those places where an industrial or residential estate or infrastructure had to be developed. Settlements in the subsoil were expedited by using sanddrains. The synthetic drain was introduced in 1972 for a building pit at the Hemweg power station in Amsterdam. Its development was then accelerated. Synthetic drains are superior to sanddrains because of their flexibility and better filtration and they became a formidable competitor. Nowadays sanddrains are hardly ever used. Because of the great demand for a high-quality synthetic drain, Geotechnics Holland BV developed the Mebradrain in 1978. Mebradrain has since grown into the vertical drain which is used most often in the world. In the meantime, more than 100,000,000 m of Mebradrain have been applied in 39 different countries. This lesson covers many aspects of the synthetic drain, from application to quality control, from design methodology to laboratory tests. 2. OPERATION 2.1. Principle Soil stabilization with vertical drains is used on compressible, 139— —_ embankment ctl j=l! =| See sondlayer Fig. 1. Vertical Discharge embonkment drainage lyer send /ayer Fig. 2. Vertical Drains Saturated soils, like clay and peat. These soils are characterized by @ soft structure and a big pore capacity, normally filled with water (pore water). When a heavy load, like an embankment or a dike, is placed on top of clay or peat soils, settlements could occur due to the compressibility of the soil. These settlements could create serious construction problems. 140Fig. 3, Settiement curve 1 No drains; 2 Vertical drains;3Vertical drains with temporary load removed Fig. 4. MD 7407 141The load created by the surcharge is initially carried by the Porewater. However, when soil is not very permeable, water pres- sure will decrease gradually because the Porewater is only able to flow away very slowly. Increased water pressure can create instability of the subsoil, which in turn can create slip planes. This instability can decrease the rate of fill placement. A vertical drainage system enhances a quicker construction of the embankment without a risk of landslides. To increase the settlement process and the reduction of water Pressure, it is necessary to decrease the flow path of the Porewater. This can be achieved by installing evenly spaced vertical drains. The presence of this drainage system enables the pres- surized water to flow horizontally towards the nearest drain, and escape freely. By using vertical drains, the period of consolidation can be reduced from an average time of decades to only six months, or even a shorter period. By applying a vacuum system, it is possible to accelerate con- solidation even further. Adjoining graph explains this method. The upper curve shows the settlement of the load without using vertical drainage. The second curve shows the effect of vertical drainage application and the lowest curve shows the Progress of settlemen: when a temporary load is removed after reaching the desired settlement. Soil improvement by means of vertical drains has been used in many civil engineering projects. Some of the applications are shown in : * Construction of embankments for roads, railways, airports and dikes * Land reclamation * Construction of ports * Residential and industrial areas * Preloading of storage and landfill depots. 142Fig. 5. MDS 2.2 Mebradrain Mebradrain consists of a prefabricated strip which is very suitable for water transportation. The flexible core is manufactured of a high-quality polypropylene. Both sides have grooves, through which water can flow unimpeded. The core is wrapped in a strong and durable geotextile filter fabric with excellent filtration proper- ties, allowing free access of porewater into the drain. At the same time, this filter prevents piping of fines from adjacent soils without clogging. The drains is manufactured in a width of 100 mm, a size accepted as standard worldwide. Mebradrain is available in 2 types : MD 7407/7007 which is a drain type with high discharge capacity, suitable for depths upto 40 meters ; 143a e s g g 7. g§ , § § 8g o 0 ! 2 3 Mebradrain distance Fig. 8. Sandrain ve wickdrein MD 88 is a drain type especially suitable for very compressible soils consisting of very fine uniform particles. Both types are available with a filter that can be adjusted to specific soil conditions. Mebradrain has grow into one of the most used drainage systems in the world, and the multiple applications of Mebradrain in lots of projects throughout the world prove that customers have confidence in our product, By the end of 1992 a total of over 100 million meters of Mebradrain had been installed worldwide. Advantages of the Mebradrain system : * The least possible disturbance of soil layers * A guaranteed water discharge * The possibility of adapting the core and the filter to specific soil conditions 144* The high installation rate : 4,000 to 8,000 m per day/unit * The adaptable spacing, thus enabling a very short period of consolidation * No water requirement for installation * Drain installation possible to depths exceeding 40 meters * Easy control of installation. 2.3. Sanddrains The core of the Mebradrain guarantees a higher vertical dis- charge capacity than a sanddrain with a diameter of 300 mm. Assuming that the equivalent diameter of a 100 mm synthetic drain amounts to 65 mm, a comparison between both drain distances can be made by using the Barron formula. Adjoining graph shows that, theoretically, approximately, twice as many drains should have to be used in order to result into a similar progress in settlement. Because of the considerably lower price of synthetic drains, this system is ultimately much more cost-effective than sanddrains. 2.4. Filter Fabric The filter jacket has an important function. It consists of thermically bonded polypropylene fabric of a random texture. 3.APPLICATIONS 3.1. Consolidation The Mebradrain system has many purposes. The most common application is the consolidation of compressible soil. Highways, airstrips, harbours and railways have to be built as fast as possible, while at the same time maintenance costs have to be kept to a minimum. Uneven settlements and settlement differences are unac- ceptable as they hinder traffic. 10- THTA 145