Je was op zoek naar: couplings (Engels - Albanian)

couplings are non-responsive.
objekti nuk përgjigjet.

on the couplings, i got an offer.
më dhanë një ofertë për butonat e manshetave.

those are my daddy's couplings.
ato i përkisnin babait tim.

gotta get one of them bayonet couplings.
na duhet një nga ato lidhëset bajonetë.

these car-shaped couplings i like so much.
ato butonat manshete që të pëlqejnë shumë.

- what? - release couplings. we can't shut down boosters.
nuk mund t'i fikim motorrët.

even to the artificers and builders gave they it, to buy hewn stone, and timber for couplings, and to floor the houses which the kings of judah had destroyed.
ua dorëzuan marangozëve dhe ndërtuesve për të blerë gurë të latuar dhe lëndë druri për armaturat dhe trarët e shtëpive që mbretërit e judës kishin shkatërruar.

program while the heydar aliyev centre’s continuous architectural landscape merges various architectural components i.e. stairs, slab, wall, roof and bridge, it contains 3 major programmes. convention centre: 1200 seat auditorium with hydraulic orchestra pit will be used for both conventions and musical performances. the auditorium has been designed for naked sound acoustic values, but with transformable coupling slots it can adjust to meeting purposes. adjacent to the auditorium, the multi-purpose hall is used as a banquet, event space or projection room to show films. this hall also expands into the garden to the north and subdivides into three smaller halls – each with separate direct public and service access. upon arrival, the museum greets visitors with a double-height space lobby that houses a grand staircase which seamlessly peels off from the interior skin of the building. this staircase, which leads to the higher museum levels where the heritage, permanent and temporary exhibitions will be showcased, is also used to display sculptures. capping the museum volume, the presidential level looks out over the old city centre of baku. the 8 storey library is situated to face north, to take advantage of indirect diffused northern light. when viewed from the exterior, the volumetric massing and surfaces of the centre ensure that three distinct singularities are easily identifiable. the design layout allows each of these three entities to operate independently with their own entry and security areas. internally, these three different zones function separately from each other but share some service areas. these communal zones contain cafeterias, meeting rooms, bars, restaurants and other supporting services. topographical analysis of building envelope structure baku, which in old farsi means ‘where wind beats’, is subject to high wind loads throughout the year, and as the city lies within a seismic zone, the project’s structural engineers faced a multitude of challenges. the freeform structure of the project derives from the architectural design concept of modifying a single surface to adopt different functional requirements. the aim was to create a large column-free space giving visitors the opportunity of experiencing the fluidity of the interior. to achieve this, vertical elements are absorbed by the envelope and curtain wall system. the heydar aliyev centre consists of 2 structural systems: concrete and space frame with a single movement joint. the space frame enables the construction of this free form structure while offering significant savings in time throughout the construction process. the surface geometry driven by the architecture, dictates the need to pursue unconventional structural solutions; the introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the ground at the west, and the cantilever beams ‘dovetails’ tapering towards the free end, supporting the building envelope at the east. the substructure enables the incorporation of a flexible relationship between the rigid structural grid of the space frame and the free-formed exterior cladding seams which derive from complex geometry rationalization, architectural aesthetics and usage. structural system geometry and materiality a primary element that differentiates a rectilinear-surfaced volume from a volume with a fluid geometry is the way it reflects light. each side of a cube or a box will reflect only one tone of light; however volumes with fluid geometries will reflect varying shades that continually transform and flow into each other, creating much richer surface composition. the heydar aliyev cultural centre design achieves the ideas of a continuous architectural landscape by using two primary elements that are profoundly interlinked: complex geometry and materiality. the choice of the building’s materiality enabled further development of the project’s form. one of the most challenging and critical elements of the project was its external skin. the aim was to use a unifying material for both the plaza flooring and also the envelope cladding. this material needed to adapt to the plasticity of the geometry, whilst at the same time, offer the required colour, sheen, texture and technical specifications of uv protection, graffiti-proofing and slip resistance. glass fibre reinforced concrete, gfrc, is the ideal material, allowing the creation of the unique free form building design. a special extrusion process incorporates layers of glass-fiber into a concrete matrix. in the top and bottom layers the fibers are undirected and scattered; in the middle layer, they are set in fiber bundles that take the form of the roof. the omission of steel reinforcement allows the construction of slim concrete elements which can accommodate high stress loads despite having a very thin section. the result is an extremely thin slab of 8-13 mm thickness that is very light-weight yet has a high flexural strength. besides extrusion methods, using moulds allows grfc panels to be created with complex geometries. in addition to fabrication restrictions, the panel dimensions must take transportation, installation, handling and assemblage into account. geometrically the panels are divided into three categories: flat-planar, single curvature and double curvature. flat panels are fabricated through an extrusion bed while single and double curvature panels are moulded. for obvious reasons, the panels fabricated from moulds are more expensive. the panels are also classified as per their location and consequently usage: plaza, transitional and envelope panels. flat plaza panels and panels used in the transition zone must be treated differently due to their exposure to human reach, heavy foot load, anti-slip requirements, graffiti-proofing and scratch protection. to prevent dirt gathering in-between the panels and create a smooth surface to the plaza that enables pedestrians to cross with ease, metal and rubber gaskets are located between the panels. as the surface undulates upwards, these gaskets peal inwards implying a restricted pedestrian access through the transition zones. south elevation in addition, the support structure varies at each of the above mentioned locations. while the plaza panels rest on gravel and concrete, the panels at the transitional zone are supported on a wedge-shaped concrete footing. the envelope panels working as rain screen cladding system are connected to the space frame nodes via pedestals and the sub-structure, enabling maximum flexibility between the structure and cladding. high wind loads, maintenance and lightning protection were among many other issues that posed challenges during the development of the envelope panels. the surface’s homogenous appearance actually has underlying heterogeneous properties which respond to various functional necessities. unlike the exterior skin’s unifying material used for cladding and flooring, the interior surface consist of two different materials: the areas where the envelope folds inwards, creating slabs and stairs, required a different treatment (museum’s first floor exhibition area, library’s ground level lobby and the grand stair which performs as a bridge displaying sculptures as it connects the museum to library on the first floor). bolidt, synthetic resin flooring enables a smooth transition of the geometry from floor to wall, while providing the required acoustical and technical values, as well as colour, geometry adaptability and aesthetic requirements. interior view from museum entrance the interior surface of the walls and ceiling will be constructed of composite gypsum boards with white matt paint finish, responding to acoustical and lighting requirements, as well as parameters such as load (resulting from hanging art work at the museum) and location (required strength at areas within human reach). seams in this architectural composition, if the surface is the music, then the seams are the rhythm. numerous studies were carried out on the surface geometry of the heydar aliyev centre to rationalise and panelise it while maintaining the continuity of the entity and landscape. through various design stages our goal was to achieve a seamless transition between disparate elements. however, on a large architectural scale the introduction of seams is necessary as manufacturing, handling, transportation and assembly become important parameters determining the panel size limitations. the expansion joints are also incorporated within the seams allowing movement due to deflection, external loads, temperature change, seismic activity and wind loads. the seams also give a better understanding of the project’s scale and emphasize the continual transformation and implied motion of the project’s fluid geometry; offering a pragmatic solution to practical construction issues. the seams are an essential element of the design, generating an elegant relationship between repetition and continuous variation of the centre’s surfaces. good communication and coordination amongst architects, engineers, fabricators and contractors are key factors in realizing an architectural vision of such complexity; enabling a better understanding of materiality and assembly systems, whilst also contributing to the further evolution of the architecture and construction industries as a whole. the heydar aliyev cultural centre has used this advanced concrete technology to marry the sensual nature of azerbaijan’s culture with the ambition, optimism and boundless energy of the azeri people. as with all our work, we investigate and research the landscape, topography and circulation of the site to inform our design; ensuring the building becomes “embedded” into its surroundings – giving the cultural centre the strongest relationship with its unique context within baku. the grfc paneling used throughout the centre plays a critical role in its design – allowing the building to sit perfectly within its environment and embrace the future possibilities of the nation. exterior view from east plaza
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