Helmut Jahn - Deutsche Post Headquarters

Book Description

Das aerodynamisch gestaltete Bürohochhaus der Deutschen Post AG ist ein außergewöhnliches Beispiel der Zusammenarbeit Helmut Jahns mit Werner Sobek und Matthias Schuler. Der Bauherr hatte sich dazu entschlossen, mit dem Bau der neuen Zentrale ein Zeichen für Zukunft und Innovationskraft zu setzen. Inzwischen wurde der Entwurf der Architekten durch das "Urban Land Institute" prämiert. Das Konzept zweier gegeneinander versetzter Halbovale, die einen Korridor umschließen, ermöglicht einen günstigen Energiehaushalt: die Abluft der Büros wird zum Beispiel zur Klimatisierung der Wintergärten in der Zwischenzone benutzt. Das integrierte, computergesteuerte Heiz- und Kühlsystem balanciert die inneren und äußeren Klimabedingungen optimal aus. Zugleich werden mit den Glasdoppelfassaden konstruktiv innovative und filigrane Fassadentechniken realisiert.

Helmut Jahn, Werner Sobek, Matthias Schuler - Architecture Engineering

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Helmut Jahn, Werner Sobek, Matthias Schuler - Architecture Engineering
Werner Blaser
Manufacturer: Birkhäuser Basel
ProductGroup: Book
Binding: Hardcover

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ASIN: 3764367342

Book Description

The buildings of Helmut Jahn, Werner Sobek and Matthias Schuler represent a symbiotic collaboration between architecture, engineering and building technology. This innovative team has taken up the challenge of turning optimum technical solutions into intelligent and resource-saving constructions, creating internationally acclaimed architecture of the very highest technical and aesthetical quality: "Modern buildings make the highest demands of technology. And it is not the architect who fulfils them but the engineer" (Helmut Jahn) This volume documents in detail a large number of recent projects in Europe, the USA and Asia by Jahn, Sobek and Schuler including the European Union Headquarters in Charlemagne, the Sony Centre in Berlin, office buildings for the Deutsche Post in Bonn, Shanghai International Expo Centre, Bishopsgate (London), MANN (Chicago), New Bangkok International Airport, Illinois Institute of Technology Campus Center, and Shenzhen Convention and Exhibit Center.

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Suvarnabhumi Airport, Bangkok, Thailand
Helmut Jahn
Manufacturer: Avedition
ProductGroup: Book
Binding: Hardcover

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The Great Stone Architects: Interviews With Philip Johnson, John Burgee, Michael Graves, Cesar Pelli, Helmut Jahn, John Portman and Der Scott

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The Great Stone Architects: Interviews With Philip Johnson, John Burgee, Michael Graves, Cesar Pelli, Helmut Jahn, John Portman and Der Scott
John Sailer
Manufacturer: Tradelink Pub Co Inc
ProductGroup: Book
Binding: Hardcover

General | Architecture | Professional & Technical | Subjects | Books
ASIN: 0962935506

Archi-Neering: Helmut Jahn - Werner Sobek

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Architecture and Engineering a common bond

Archi-Neering: Helmut Jahn - Werner Sobek

Manufacturer: Hatje Cantz Publishers
ProductGroup: Book
Binding: Paperback

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ASIN: 3775708529
Release Date: 2000-04-02

Book Description

Edited by Susanne Anna.

Customer Reviews:

Architecture and Engineering a common bond.......2001-03-15

Archi-neering provides valuable insite into the theory, development and design of Helmut Jahn's projects. Through interviews with Jahn and the engineer who makes his work possible, Werner Sobek, the book highlights the value of architects and engineers working toward a common goal: building a better future. While the professions sometimes experience a bitter rivalry, it is refreshing to see how men such as Jahn and Sobek have learned to work together and produce wonderful projects.

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Bayer Konzernzentrale Headquarters
Werner Blaser
Manufacturer: Birkhäuser Basel
ProductGroup: Book
Binding: Hardcover

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Helmut Jahn - Deutsche Post Headquarters

ASIN: 3764370033

Book Description

Das repräsentative Erscheinungsbild, die innovative Gebäudetechnik, die Funktionalität und die Transparenz als Sinnbild für einen weltoffenen Konzern - diese Kriterien gaben den Ausschlag dafür, dass sich die Bayer AG 1998 für einen Entwurf von Helmut Jahn zum Neubau der Konzernzentrale entschied. Das viergeschossige Bauwerk stellt ein weitgeöffnetes halbes Oval dar, das sich mit einer langen transparenten Pergola harmonisch in den Carl-Duisberg-Park einfügt. Die neue Konzernzentrale ist als Stahlbetontragwerk konzipiert, in welchem für die Heizung und Kühlung die Niedrigenergie-Eigenschaften von Wasser und die thermische Speicherfähigkeit von Beton genutzt werden. Ein weiteres Highlight des Gebäudes aus ökologischer Sicht ist die zweischalige transparente Fassade, mit der beträchtliche Energiemengen zum Temperieren der Räume eingespart werden können.

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Airports
Helmut & Werner Blaser Jahn
Manufacturer: Birkhauser
ProductGroup: Book
Binding: Hardcover

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Building identity: Die Geschichte eines grenzenlosen Erfolges

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Building identity: Die Geschichte eines grenzenlosen Erfolges
Helmut Jahn
Manufacturer: Econ
ProductGroup: Book
Binding: Turtleback

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ASIN: 3430150140

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Helmut Jahn
Rizzoli
Manufacturer: Rizzoli
ProductGroup: Book
Binding: Hardcover

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Helmut Jahn
Nory Miller
Manufacturer: Rizzoli
ProductGroup: Book
Binding: Paperback
ASIN: B000PRQRCS

Book Description

Between the time of Durer and that of Delacroix, the place the artist worked transformed into what nineteenth-century writers would call the "studio." The transformation implied a new kind of exchange between the workplaces of the artisan and the intellectual: art itself began to provide a model for new kinds of reflection, and the imagined place of its making a setting for cognate meditative practices. Eventually the studio, as a subject of painting, would be one through which artists would make their most ambitious statements about the nature of their vocations.

In Inventions of the Studio, six noted art historians follow this process over five centuries. The book looks at the Renaissance origins of the idea of the studio, at the possibilities that emerged for visualizing it in the late sixteenth and seventeenth centuries, and at its restaging among the Romantics, treating these not as isolated projects, but as part of a coherent tradition. Looking at the studio both as a concept and as an actual space, the book suggests that the studio, in its emergent form, is in many ways what defines the early modern artist.

Book Description

Digital Filmmaking has been called the bible for professional filmmakers in the digital age. It details all of the procedural, creative, and technical aspects of pre-production, production, and post-production within a digital filmmaking environment. It examines the new digital methods and techniques that are redefining the filmmaking process, and how the evolution into digital filmmaking can be used to achieve greater creative flexibility as well as cost and time savings. The second edition includes updates and new information, including four new chapters that examine key topics like digital television and high definition television,making films using digital video, 24 P and universal mastering, and digital film projection.

Digital Filmmaking provides a clear overview of the traditional filmmaking process, then goes on to illuminate the ways in which new methods can accomplish old tasks. It explains vital concepts, including digitization, compression, digital compositing, nonlinear editing, and on-set digital production and relates traditional film production and editing processes to those of digital techniques. Various filmmakers discuss their use of digital techniques to enhance the creative process in the "Industry Viewpoints" sections in each chapter .

Customer Reviews:

Covers a lot of difficult technical ground.......2002-03-14

While the writing sytle and the overall style of the book seems to ramble, there's actually a whole lot of very important technical information being covered in this book.
It's reassuring to me to have industry specialists writing a technical book as well as interview other working professionals. While the 1st edition might seem a little dated, the 2nd edition includes more information on 24P HD, among other things. The film information is very thorough and well-explained, and that's not usually the case! The same is true for the various audio issues to consider both in the field and in post. It's also one of the few books that provides information on the use of film timecode.

A disapoitment for the didital videographer.......2001-06-11

I found the audience for this book to be elusive. It appears to be aimed at those currently working in major film industry centers on one hand and then at the enthusiast with a digital camcorder on the other. Someone currently working in film-in whatever capacity-probably knows considerably more than is presented in this book. The enthusiast with a camcorder will learn a little, but much of the material assumes a level of knowledge that he may not have.

My background is in sound, both production and video post, and running a recording studio the 70s. I then migrated into computers. About five years ago I started getting back into multimedia via web audio and video. I have some clients who want to produce movies using 24p for distribution via film and was hoping to get a view of current industry practice. This book only lightly touches on current technical practice and is incomplete in this area. I have shot some 24p and almost all of my experieence with cvamera work is digital. The information on digital technology is incomplete and in some cases inaccurate and the information on originating on video and finishing on film is trivial.

While a few of the interviews are good, most just occupy space and a few are fatuous. Much of the material is dated-such as the interview with Larry Blake, and the references to DNLE (today there are only digital Non Linear Editors). This second edition appears to be some minor material plastered onto the first edition. The first edition was aparently from some time in the middle 90s. The bright spot of the book is an excellent description and explanation of 3:2 pulldown.

Overall I found this book very disapointing.

A Commercial for Avid.......2000-10-16

Written like a bad stereo manual and padded with self-serving industry interviews, this title is an in-house product of Avid Press, and is an unabashed commercial for their system. Just one chapter is devoted to HDTV, with nothing useful about how to actually shoot in this medium, and there is no coverage of DV moviemaking at all. If you plan to shoot on 35 mm and rent an expensive Avid nonlinear editing suite for all post-production, then you are the target audience for this book. If you don't have a multimillion dollar budget, and wish to shoot on DV, using the cutting-edge desktop editing systems that will soon put Avid out of business, then don't waste half a c-note on this book...

Will video replace film?.......2000-05-25

This fabulous book is a must for anyone considering shooting a project on digital video or HDTV. Timely issues are addressed, such as what happens when you shoot video (approx. 30fps) and then transfer to film (24fps). One of the chapters is titled, "24p: Twenty-Four Frames, Progressively Scanned." 24p and video was a major issue at the NAB Convention (National Association of Broadcasters) last April. The book describes the new digital frontier, and also takes time to review traditional film making process. Also, rather than just deal with digital cameras and nonlinear editing, Ohanian and Phillips also take a look at digital technology uses in other areas of film such as storyboard and costume design. There is even a section on the use of Storyboard Quick and an industry viewpoint with Storyboard Quick's co-developer, Paul Clatworthy writing about the future of digital previsualization. These highlighted areas, called "Industry Viewpoints" create compelling interest throughout each chapter where industry experts such as editor Pietro Scalia (JFK-Academy Award for best editing) contribute much insight.Will film editing and other traditional film methods become obsolete is a question the book addresses. The authors point out the many innovations that editors have achieved, moving from film to digital video editing, such as the method of "cheap telecine." Here, the editor uses the conventional flatbed film editor modified to include a CCD camera. Rather than spend thousands transferring at a facility, the editor simply transfers with his flatbed and then edits on an Avid or other nonlinear system. This is so much faster than film editing.Digital Consultant Van Ling points out that "like in many fields, it (digital technology) can be easy to fall into the temptation of the technological imperative it that if the technology is out there, you should be using it or you'll be behind the times." He continues, stating that filmmakers need to focus on "weaving a good yarn." The authors stress that "adoption of a new methodology or a new technology must take into account two issues: 1) does the new way decrease the cost of getting the film into distribution, or 2) is there a different benefit, such as increased creativity?" Any filmmaker who knows how to harness the digital technology with taste and creativity so the story telling is enhanced will be the successful storyteller.The second edition looks at industry standard programs such as Movie Magic Budgeting and unveils many unique features. Digital technology has influenced today's film making from script, budget, storyboarding, and costume design programs to the way the film or digital video is shot. The Director of Photography often has his laptop near the camera with storyboards loaded. Many camera operators now wear on their belt a BE Logger which is a wireless time code reader. The logger detects camera starts and stops for automatic logging of takes. The unit display indicates camera roll, scene, take, time code start, time code out, duration of take and other factors. After a days shooting, the unit is plugged into a master logging software program where all events and attributes are easily manipulated. For instance, it can tell an Avid editor where to cue to a particular scene. Many other digital aids to production are described in the book.What might be of most interest to film makers is the aspect of shooting on digital video or HDTV and transferring the final product to 35mm motion picture film for theatrical release. The authors cover this topic thoroughly by looking at many different avenues to shoot and methods of film transfer, including interviews with lab and sound professionals. The various aspects of conversion and quality of the sound track is expertly covered. This is now a very popular way for independents to produce features for about $100,000. Most theaters don't have digital projectors yet so this section of the book will be very valuable to a producer who is contemplating digital to film as a method of production.Included in the book is a lengthy discussion of the Association of Independent Commercial Editors (ACE) in June 1999. A full transcript of the event with streaming audio is available at www.24p.com. This book should be required reading for those in the industry and will be an invaluable reference for upcoming productions.

The 2nd Edition of this book just arrived!.......2000-05-22

The Second Edition was published April 2000 and has a considerable amount of material about 24p and transferring DV or HDTV to 35mm motion picture footage. It is also an invaluable guide at gaining some insight into the changing world of film making.

Book Description

This collection of articles by leading researchers will be of interest to people working in the area of mathematical finance.

Customer Reviews:

Discusses interesting alternatives to risk analysis/measurement.......2006-07-26

The analysis, modeling, and measurement of risk are now a multi-billion dollar industry, employing armies of analysts and risk managers, and frequently making use of highly sophisticated mathematics. This short book is a collection of articles that address some of the main issues in risk management from several different viewpoints, such as credit risk management, extreme value analysis, Value at Risk (VAR), and credit scoring methods. Most of the articles include discussion on how to use the results for real-world applications, or how to validate them for possible use in a financial institution of interest. Readers are expected to have a fairly substantial mathematical background, including of course probability and statistics, especially the theory of stochastic processes, the latter mostly in the guise of Brownian or geometric Brownian motion.

In the article by Ludger Overbeck he compares capital allocation rules that are based on conditional expectation, marginal economic capital, and on covariances in the context of credit portfolios. Taking the ability-to-pay process as being given by multivariate Brownian motion, he assumes first that the default probability for a single customer and the correlation matrix for the ability-to-pay process are known, and then sets out to compute the loss distribution for the case of m customers each with a particular exposure. The exposures are assumed to be non-random and the author first estimates the loss distribution using Monte Carlo simulation. He then gives a quick overview of the economic capital definition for a portfolio in terms of the quantile of the loss distribution, and how to allocate capital throughout the portfolio using Var/Covar. This approach involves the `risk contributions' to the standard deviation. The author calculates the risk contributions explicitly and notes that the difference between the quantile and the mean is a multiple of the standard deviation in the case of the normal distribution. When the distribution is not normal, the author defines the `contributory economic capital (CEC)' as the product of the risk contributions and the economic capital normalized by the standard deviation. This discussion motivates the concept of `marginal economic capital (MEC)', which is the difference between the economic capital of the portfolio and the economic capital of the portfolio without the transaction. The author then notes that the sum of each MEC is not equal to the economic capital, the CEC is then set to be proportional to the MEC. It is at this point where the discussion is the most interesting, for the author brings in the notion of a `coherent risk measure' as a competitor to the approach of risk management by quantiles. Similar to the requirements for a measure in ordinary measure theory, a coherent risk measure must be bounded, subadditive, positively homogeneous, translation invariant, and monotonic. The concept of a coherent risk measure has a fairly extensive literature at the present time, and usually presented in an axiomatic framework with the above requirements to be satisfied. These requirements are well motivated from the standpoint of an intuitive understanding of risk. The boundedness requirement for example is clear (no such thing as infinite risk), whereas the translation invariance implies that the addition of an amount to the portfolio increases the risk measure by this amount. The subadditivity requirement means essentially that the risk of two merged portfolios cannot be greater than the sum of the individual portfolio risks. The requirement of positive homogeneity means that if a portfolio P grows in size by some factor then the risk of this enlarged portfolio is equal to the risk of P multiplied by this factor. The author goes on to define a coherent risk measure and a definition of capital in terms of this measure, namely the economic capital is the expected value of the losses given that the losses are above some selected level. He then compares the different capital allocation methods with real portfolio data and Monte Carlo simulations. The authors use of Monte Carlo simulations requires in some cases a large number of paths, as he points out in the article, this arising mostly from simulating losses and capital allocations to single counterparties (the shortfall contributions being allowed by the capital definition). He recommends future study of these simulations. Perhaps techniques for variance reduction can be of assistance.

The article by Marlene Muller and Bernd Ronz overviews their method of doing credit scoring using semiparametric methods, which is a special method wherein part of the explanatory variables can be modeled nonparametrically. The payoff they say in using this method is that one can find out how the logistic discriminant has to be changed in order to better differentiate between good and bad loans. Such knowledge would definitely be useful, since after a typical discriminant analysis one usually has no idea how to alter the model in order to reduce the resulting error in classification. Explicitly, the Muller-Ronz credit scoring model involves the computation of the conditional expectation of the response variable given the explanatory in terms of a known function of unknown parameters and an unknown nonparametric function, the latter of which can be estimated by a quasilikelihood method. This computation is only advantageous if it outperforms the parametric logit method for credit scoring, and using real data the authors compare their model with the logit method in the article by calculating misclassification and performance curves, and conclude that the semiparametric model improves the performance with respect to the parametric model.

Customer Reviews:

Serving it up with style........2002-04-03

This book comprehensively describes the experiences of restaurant servers in various workplace settings. It provides insight and information about the ways that workers deal with emotional incidents in order to carry out their work. In addition, it provides vivid ethnographic accounts of tipping situations, angry customers and workplace interactions that demonstrate the emotional skills that workers must possess in this occupation. I would recommend this book to managers, educators, workforce trainers and servers who are a part of this industry and are looking for ways to improve their workplace.

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