Übersetzung für "Raumkonstruktion" in Englisch

Moreover, the modules of such a three-dimensional structure may also be optimally utilized due to the arrangement and size thereof.

Schongauer demonstrates his skill in the construction of space – which is perspectivally accurate for the most part – and the depiction of various textures.

Rainer Gansera described this encounter with 30 buildings and ensembles designed by the French architect and construction engineer brothers Auguste and Gustave Perret as a "drama of spatial construction".

When one identifies the staggered space of the renaissance painting in the photograph, one realizes that Selbst im Grün is not based on the illusion of perspective but on a three-dimensional construction using various materials, painting, and photography.

Sinta Werner incorporates the possibilities of digital image and spatial construction into the “old” analog world.

The modern optics of the open space construction of exposed roof and steel girders lend an attractive industrial charm to this venue.

In particular, an illuminating device to be easily assembled subsequently even with a given spatial construction is to be created, which with a clear accentuation of the allocated region of the room facilitates good visibility and fatigue-proof operation or observation of the devices or exhibits there displayed and which is individually adjusted to different accentuation requests.

The sandwich plates 211 are connected together by screw connections and/or bonded connections and/or positive interlocking, not shown, to form a stable three-dimensional structure 216, wherein the longitudinal members 212 a and 212 b have through-holes 240 and/or 241 .

In FIG. 6 b, the sectional view of FIG. 6 a is shown omitting the two storage compartment attachments and the containers, so that only the load-bearing sandwich plates 11 of the three-dimensional structure 16 are shown.

The rear chassis 4 comprises a plurality of sandwich plates 11 which are connected together to form the three-dimensional structure 16 .

Two longitudinal members 12 of the three-dimensional structure 16 may be seen in FIG. 1, the longitudinal members being designed as left-hand longitudinal members 12 a and right-hand longitudinal members 12 b .

The road vehicle chassis 1 corresponding to the view of FIG. 2 is shown in FIG. 3, wherein the bottom chord 15 (see FIG. 2) is omitted in order to expose the view of the interior of the three-dimensional structure 16 of the rear chassis 4 .

As a result, a tunnel 29 is produced in the three-dimensional structure which leads to the first crossmember 13 a in the direction of travel F 17 .

New connections are set in this space construction, new manifestations and discoveries initiated in the practice of inviting.

The wooden skeleton represents a spatial design from bottom obvjazok, laid on the base, leaning on these obvjazki one- or two-storeyed racks from boards, the bars connected top obvjazkami, beams and podkosami in rigid system.

At the final steps of room design you define the listening place and select the loudspeakers from the Loudspeakers Data Base and place them on their actual positions.

The staggered spatial construction, which allows only fragmentary views of the entire scenery, also emphazises the loss of the sense of reality.

With its own visual dramaturgical sequence, moving structures develop from a filmic flatness becoming a multi-dimensional space of light through the projections on the constructions in the space.

Twodifferent video tapes are shown parallel on several monitors integrated in the room's construction; together with the visual space design (wood, steel, light) they generate a field of tension, an ambiance of presence, which allows an unbiased, focused and actual experience of classical music exempt from the cultural imprint and the aesthetics of the past.

There is no spatial illusion through central perspective in this installation – the movements of the body, which are represented though visible traces in the digital space, create the virtual space.

Starting from the reflection that the Secession is historically the first white cube in the history of exhibitions, the artists counter the original exhibition space with a spatial construction consisting of the word CAGE.

The number of polygons depends on the actual room design and is determined once by the calculation module CARACALC when starting the first room acoustic calculation.

Similarly dramatic and significant changes can be seen in the inner organisation of images, in the construction of space on a two-dimensional surface, in framing devices within the picture, rival narratives within the images, layout, 'Split screen', film-like sequences and interactive navigation.

In Dilemma the central area, in which the vanishing point of the perspective construction is to be located, becomes a picture itself, i.e. an installation of objects with a canvas showing its back and a smashed gypsum copy of a wing.