Golden Gate Bridge: History and Design of an Icon by Ira Nadel, Donald MacDonald

By Ira Nadel, Donald MacDonald

9 million humans stopover at the Golden Gate Bridge every year, but what number understand why it's painted that beautiful colour of "international orange"? Or that old Mayan and artwork Deco structures motivated the layout? present bridge architect Donald MacDonald solutions those questions and others in a pleasant, informative examine the bridge's engineering and 70-year heritage. This available account is observed through 70 of MacDonald's personal fascinating colour illustrations, making it effortless to appreciate how the bridge was once designed and built. a desirable learn for these drawn to structure, layout, or an individual with a gentle spot for San Francisco, Golden Gate Bridge is a becoming tribute to this undying icon.

About the Author:
Donald MacDonald is the 1st architect to paintings at the Golden Gate Bridge in view that its of completion. He lives in San Francisco.

Ira Bruce Nadel (born July 22, 1943) is an American-Canadian biographer, literary critic and James Joyce student, and a unusual professor on the college of British Columbia. He has written books at the twentieth-century Modernists, particularly Ezra Pound and Joyce, biographies of Leonard Cohen and Leon Uris, and on Jewish-American authors. He has received Canadian literary awards, and has edited and written the advent to a few scholarly books and interval items. he's a critic of the Olympic torch relay as a legacy of the Nazis.

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Strauss also enlisted the aid of another engineer, Meanwhile, MoisseifPs calculations showed that lighter, Clifford Paine, an opera- longer, and narrower spans tional wizard who became his could withstand high winds. principal assistant engineer. Strauss now recommended Most of the design, detailing, a suspension bridge with plans, and computational work curved backstays—cables were done at the Strauss and attached at the top of a tower, Paine head office in Chicago, extending to and secured where at one time forty men in an anchorage to resist worked on the project.

Not all agreed. One reader responded any treatment in a different color would divide up the that primer was associated with construction work towers in a way fatal to their scale. and, therefore, with unfinished structures. Others felt Morrow’s friendship with en plein air California that the favored orange-vermilion color would be less painter Maynard Dixon convinced him that International effective than light gray (Figure 34) or aluminum when Orange was the right choice. In 1935, Dixon wrote lit at night.

This is a complicated question. Strauss claimed credit roadway halfway up its towers, lacked (Figure 19). Strauss certainly had determination—and some for work done by others, notably Ellis and the San would say vision—but recent evidence suggests that Francisco consulting architect, Irving F. Morrow (who Ellis did the principal design work, including the stress replaced the first consulting architect, John Eberson). analysis of Strauss’s revised design, while proofing Many other players, too, were required to meet the calculations and equations for his own modifications, design challenges.

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