【正文】 彎曲 支撐受力 最有效的基本負荷的方法。弗蘭克蓋里 ,普利茲克獎建筑師 , 促進 了 這 種 建筑 設計進 程 , 他傳 達 過這種建筑設計 的 想法而沒有過這種建筑設計 (Shelden2021)。 形成一個 初 步的建筑 結構 形態(tài) 需要一個強大的工程師和承包商團隊。 福克薩斯 ,然后交給 結構 工程師和承包商 Mero TSK 集團解決 結構 上 和 構造上的關系后確定的 (見圖 2) (Basso et al. 2021)。 當然，這也 一直 受到立體 解析幾何和設計者想象力 強加的 規(guī)則 的 限制。 [我們可以從 花之圣母大教堂 的圓頂及其最近的混凝土外殼的設計中找到這樣的例子。 布魯內(nèi)萊斯基 ；其最 近的混凝土外殼， 費利克斯 在這種背景下 , 耶爾格 舍貝爾在鋼殼 結構的工作 是 一種 創(chuàng)新。 柏林動物園的 HippoHouse，德國（建于 1996 年）， 由建筑師設計 Grieble 和 Schlaich Bergermann 以及 合作伙伴(Schober 2021,Glymph et al . 2021)利用這種方法 設計的 一個優(yōu) 美 的鋼殼 ,見圖 3。 每個擁有精美結構網(wǎng)絡的大跨度殼體結構都是由大量細小模塊組成。 在 實現(xiàn)膜 強 度 的 穩(wěn)定 性， 曲線形狀是至關重要的。 薄膜效 應使材料的性能得以充分發(fā)揮 。 在二十世紀 ,建筑師和工程師 [高迪 (Huerta 2021),奧托 (Otto et al .1995), 易思樂 (Billington 2021)]嘗試 利 用物理形式 尋找這樣一種方法 ,在 對于一個給定的材料 ,建立 一組邊界條件和重力荷載 ,以尋找 有效的三維結構形狀。 子模塊 需要軸向加載使截面輪廓最有效地 受力 。 然而 ,當談到纜索系統(tǒng)的形狀并不取決于初始預應力而是由重力負載 (如案例 中的 磚石、混凝土或鋼殼 ) 決定時 ,更少的數(shù)值 模擬 方法被 應用 。 基利恩和奧科申朵夫 (2021) 為 靜定系統(tǒng) 呈現(xiàn) 了一種 基于粒子 彈簧系統(tǒng)的面料仿真模型 的 結構形狀探索 工具 ，該系統(tǒng)是 用龍格 庫塔求解器求解 。對 于 荷蘭海事博物館屋頂 的 初始設計大賽項目 , 動態(tài)松弛法 通常 是用于預應力系統(tǒng) ，該法 適應處理 重力加載 下， 張力和壓 力 下的 三維纜索 體系 。十七世紀歷史建筑 成為 受限空間阻礙了游客的運 行 。 這樣， 一個邀請設計大賽 被 舉辦 ，為這座 歷史建筑 增加更多 附加價值 一個新的玻 璃屋頂 產(chǎn)生了 。外殼 的 制造和施工在 2021 年和 2021 年之間。 Finding the Form of an Irregular Meshed Steel and Glass Shell Based on Construction Constraints Sigrid Adriaenssens, 。 Eric Bodarwe3。 2021 American Society of Civil Engineers. CE Database subject headings: Design。 Glass。 Roofs。 Conceptual design。 Steel glass shell。 Planarity faces。 Maxwell reciprocal work. Introduction In the wake of the Industrial Revolution, glass metal structures appeared as a result of two factors: society’s desire for green, quiet spaces in overpopulated cities, and the scientific emergence of new construction materials (glass and iron). In the early nieenth century, the first greenhouses with a glazed roof appeared as living spaces. Their tall construction and maintenance costs (because of the glass and the required heating system) made them style icons of the elite. Their curved shapes [(1) ridge and furrow ., Chatsworth, United Kingdom (built in 1834), and (2) vaulted, ., Kew, United Kingdom (built in 1844) (Kohlmaier and Von Sartory 1991)] allowed the sparse sunlight into the space and hit the citrus and lime trees (hence, the name orangery). Other varieties of tender plants, shrubs, and exotic plants were also housed in the orangery. The introduction of the palm tree, an impressive and prestigious plant with large religious significance, pushed the shape of the greenhouse further upwards. In the middle of the nieenth century, the development of greenhouse typologies was in full swing, and resulted in culture houses, conservatories, and winter gardens [., the Royal greenhouses, Laeken, Belgium (built in 1876) shown in Fig. 1 (Woods and Swartz 1988)]. The winter garden is of particular interest to this paper because it defines a social meeting place adjacent to a private mansion or public building. Mass production of affordable iron in the second half of the nieenth century further encouraged the design and construction of tall and large span exhibition halls made of cast and wrought iron and glass. Plenty of light entered the exhibition areas of buildings, such as the Crystal Palace, United Kingdom (built in 1851) (shown in Fig. 1). Its filigree iron structural skeleton was prefabricated, and it was subsequently dismantled and moved from Hyde Park to Sydenham in South London. Unfortunately, it was destroyed by fire in 1936. The second half of the 20th and the early 21st centuries experienced a new uprising of the design and construction of roofs over social gathering places, winter gardens without plants, covering courtyards of historically important public buildings [., the great courtyard of the British Museum, United Kingdom。 the Deutschen Historischen Museum, and Museum fur Hamburgische Geschichte, Germany (both Schlaich Bergermann and Partners, built in 2021 and 2021, respectively)。 reprinted with permission from the photographer)。 (c) British Museum Courtyard (United Kingdom, built in 2021) steel roof adds value to the museum by expanding the useable circulation space (image by authors) imposed existing situation, sculptural architectural esthetics, geometric shape, and structural efficiency through form. Imposition on an Existing Situation: The Modern Winter Garden In the last two decades, existing historically relevant public buildings with a central open courtyard have been adapted to extend the useable floor area to an indoor/outdoor climate. These generally narrow buildings count on the courtyard for daylight. Steel and glass shells offer a unique solution to this design challenge. The historic context for these shells imposes a series of design constraints within which the designer has the freedom to develop the shell’s form. The boundary conditions often include height restrictions and limits upon the maximumextra load that can be imposed on the existing building, particularly in a horizontaldirection. The British Museum Court Roof is supported on sliding bearings so that no horizontal thrust is exerted on the historic masonry walls of the museum (Williams 2021). In the reviewing the design of recently realized steel shells, the driving design factor more often seems to be architectural scenographic esthetics rather than structural performance. Sculptural Architectural Esthetics With the available geometric digital modeling tools, more architects base their work on esthetic (and often subjective) considerations to achieve scenographic effects. This sculptural design intent can be appreciated for its inventiveness of plastic forms, but not for its consideration of gravity loads. This particular design approach thus raises questions from a structural point of view with respect to the resulting lack of structural efficiency. Unfortunately, the structural