Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
Here is a great video from my friend Kevin Drake explaining a little bit about saw geometry (including the differences between Western and Japanese styles), and how he developed his particular style of handsaw.
For what it’s worth, I own one of Kevin’s saws, and it is hands down the nicest one I have ever used.
I have to take issue with Kevin Drake’s description of Japanese sawtooth geometry in this video. Although it is true that the rip teeth of a Japanese saw can have a
negativepositive rake (leaning into the direction of the cut), the model he uses is quite exaggerated in terms of the amount of rake that exists in a Japanese rip saw. The maebiki that I have is the only Japanese saw that I have seen that approaches the amount of rake in Kevin’s model.
Japanese woodworkers modified their saws to accommodate the woods they were using. If they were making rip cuts in harder woods, they would relax the rake of their saw teeth. Likewise, if they knew they would be working in softer woods, they would reshape the teeth so that they would lean more towards the direction of cut for increased efficiency. Ideally, a Japanese woodworker would have multiple saws tuned for different species that he would be working with. And according to well-known Japanese saw aficionado Ron Herman, the same practice existed among western woodworkers back in the day, and he has western handsaws tuned for particular wood species as well.
As to whether a Japanese saw can deal with North American hardwoods, here’s a 210mm ryoba being asked to punch above its weight with a piece of 8/4 white oak. Resawing:
And a crosscut.
This is the geometry of the rip teeth. As you can see, there’s a slight
negativepositive rake, but nowhere near to the degree as seen in the video.
And the crosscut teeth.
This saw still has all its teeth, even after over 5 years of use in a variety of North American hardwoods.
UPDATE: I messed up negative and positive rake, now corrected. Thanks to Roger Davis for pointing that out to me.