Discount Price OEM customed aluminum case SKC415R for Maldives Factories
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The client satisfaction is our primary concentrate on. We uphold a consistent level of professionalism, top quality, credibility and service for Discount Price OEM customed aluminum case SKC415R for Maldives Factories, The product will supply to all over the world, such as: Myanmar , Colombia , Latvia , We have a dedicated and aggressive sales team, and many branches, catering to our main customers. We are looking for long-term business partnerships, and ensure our suppliers that they will definitely benefit in both short and long run.
The issue of materiality is central to guiding the treatment that is required in any conservation project. Whether dealing with a centuries old painting, a modern sculpture, an ancient building or a mid-century modern skyscraper, the question of what should be done to the physical fabric is at the core of the decision making process. In the United States, The Secretary of the Interior’s Standards for the Treatment of Historic Properties (Standards) were created by the National Park Service almost forty years ago to help government regulators, architects, and building owners to understand what the ground rules for interventions should be. Over time, the Standards have become widely accepted and adopted all across the U.S. as the basic rules of engagement for historic properties. Current conservation philosophy and practice continues to stress the importance of maintaining as much original historic material as possible; and when an intervention does require the replacement of historic fabric it should be as limited as possible and reversible.
With an increasing number of modern buildings entering the cycle of renewal that inevitably comes with age, the question of how to treat their materials has become even more pressing. Modern architecture was by its very nature experimental. Its architects were inventing new ideas about architecture; its form and function, as well as pushing the building industry to develop new technologies for how it could be built. This only intensified over the last half of the 20th Century as completely new ways of making buildings became standardized and economic models of “planned obsolescence” became common. Contemporary architecture has continued these trends and is more experimental than ever.
All of this leads to some perplexing questions that challenge all of us in our work. What can be done with these buildings that are now deemed to be culturally significant but were only designed to last for thirty years? What can be done with a metal curtain wall system that has begun to completely fail? How can a concrete structure be repaired that has wholesale failure of the concrete itself? When an intervention is required that results in the extensive loss of original historic fabric of a modern resource, what happens to its integrity and its authenticity? Can they remain or does the loss of material mean the loss of meaning? Does the need for a significant intervention give license to make fundamental changes to the original design? Do changing expectations of what time means to us as a society demand we change our attitudes towards our cultural heritage? Ultimately, what is it we are trying to preserve and for whom? What will all this mean for the future of our profession?
By Georgia from Paraguay - 2015.06.18 17:25
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By Josephine from Ukraine - 2015.02.04 14:13