Building information modelling (BIM) is revolutionising building design and construction. For architects; BIM has the potential to optimise their creativity while reducing risk in the design and construction process; thus giving them a more significant role in the building process. This book demonstrates how innovative firms are using BIM technologies to move design away from the utilitarian problems of construction; engaging them in a stunning new future in the built environment. Whereas recent books about BIM have tended to favour case-study analyses or instruction on the use of specific software; BIM Design highlights how day-to-day design operations are shaped by the increasingly generative and collaborative aspects of these new tools. BIM strategies are described as operations that can enhance design rather than simply make it more efficient. Thus this book focuses on the specific creative uses of information modelling at the operational level; including the creative development of parametric geometries and generative design; the evaluation of environmental performance and the simulation and scheduling of construction/fabrication operations. This book also engages BIMrsquo;s pragmatic efficiencies such as the conflict checking of building systems and the creation of bills of quantities for costing; and in so doing it demonstrates how BIM can make such activities collaborative. Throughout; projects are used to illustrate the creative application of BIM at a variety of scales. These buildings showcase work by fi rms executing projects all over the world: SHoP Architects and Construction (New York); Morphosis (Los Angeles); Populous (London); GRO Architects (New York); Reiser + Umemoto (New York); Gensler (Shanghai) and UNStudio (Amsterdam).
#3295318 in eBooks 2014-10-14 2014-10-14File Name: B00OZU9YAS
Review
0 of 0 people found the following review helpful. and it sounds good.By Christine WhiteI have only just started reading it; and it sounds good.1 of 1 people found the following review helpful. Corruption within the field of artBy LDIf you are looking for specific situations in order to know the details or you just want to know the whole story that is known so far; this is a 5 star book. I enjoyed finding out who and how the stolen art disappeared and why it is still being recovered over 65 years later. But I admit that in some chapters I got bored with the details.P.4 "Part of the project of this book is to understand the various motivations that induced talented and respected professionals in the art world to become accomplices of the Nazi leaders-in most cases; to become art plunderers. These figures in the art world had the opportunity for a Faustian bargain because the Nazi leaders themselves cared so much about culture-the visual arts in particular. The Nazi leaders could not have dominated the artistic sphere or have amassed such collections without the assistance of figures in the art world."P.7 "Dr. Ernst Buchner served as the General Director of the Bavarian State Painting Collections where he oversaw 15 museums. The 2nd chapter; on art dealers; focuses on Karl Haberstock. The 3rd chapter is dedicated to art critics who served as important mediators between the regime and the public. Art historians are discussed in chapter 4. The final chapter is about the artists (particularly Arno Breker) who collaborated with the leaders. Within each chapter are 3-4 other figures to show this was not a unique situation."P.10 "This study underscores the extent to which individuals who participated in the criminal programs of the Nazi regime were able to rehabilitate their careers after 1945."P.14 "Museum directors; while possessing considerable erudition and even international renown; comprised one of the most nazified professions in Germany."In the late 1930s Jews who were in the art dealing world thought that there would be a place for them under the Nazis.P.70 "Switzerland served as a kind of satellite to the French market."P.278 "Subsequent studies have refined our understanding of why the courts were so lenient. Most have stressed the West Germans wish to move beyond their painful past in order to focus on rebuilding their country and develop a new sense of collective self-worth."3 of 4 people found the following review helpful. Excellent Work On A Difficult SubjectBy Robert A. CrookJonathan Petropoulos writings on art and the Third Reich are a real treasure. In "Faustian Bargain;" Professor Petropoulos takes on the German artists; art dealers; and art critics who became state-sanctioned under Hitler. This is an unusual; if not solitary; book on subject matters that do not receive close analysis.The personal conclusions of this reviewer are different than those reached by Petropoulos who is uniformly critical in his portrayals. While some of the art glorified the Nazi leadership; most of it did not. Moreover; the subject matter and style of the art had been present in Germany and popular in the decades preceeding the Third Reich. The Nazis gave it prominent venues and subsidized it; they did not create it. Finally; it is a difficult stretch of logic to draw parallels with the artwork of the period and the brutality of the Nazi regime.That said; although he does not hold back on his criticism; Professor Petropoulos is not heavy handed; and he allows his readers to render their own judgments. Petropoulos provides his readership with liberal citation to original source material so that the reader is ultimately left to draw his or her own conclusions about the artistic value of the work produced during that time; and the culpability; if any; of artists; art dealers; and art critics in glorifying the Nazi regime.
