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Sunday, September 27, 2009
Thursday, September 24, 2009
Week Nine Tasks
Vitra Design Museum
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Re-Inventing the Vitra Design Museum
The current site context in which the building exists, I believe, does not give Frank O'Gehry's architecture justice. In many images of the building and its surroundings, I think placing it in a more suitable location would enhance the beauty and the unusual aspects of the museum. Therefore I plan to create a tropical environment, on the water, where the museum will house various unusual, artistic sculptures that compliment the structure of the museum, as well as contain a bar, bringing with it a different culture and broad target audience.
The scale will be considerably smaller, allowing a more comfortable feel, which in turn provides a family-friendly environment and a warm atmosphere which you would find in a tropical environment. People tend to be more friendly and close-knit.
The materiality will be fairly similar, with the majority of the structure made from concrete. This will give a nice effect, and will contribute to the unusual aspects of the museum, as it will stand out from its site context, creating a sense of amazement.
The scale will be considerably smaller, allowing a more comfortable feel, which in turn provides a family-friendly environment and a warm atmosphere which you would find in a tropical environment. People tend to be more friendly and close-knit.
The materiality will be fairly similar, with the majority of the structure made from concrete. This will give a nice effect, and will contribute to the unusual aspects of the museum, as it will stand out from its site context, creating a sense of amazement.
Monday, September 21, 2009
Vitra Design Museum
Vitra Design Museum: SketchUp Model
Vitra Design Museum
The Vitra Design Museum is an internationally renowned and privately owned museum for design in Weil am Rhein, Germany.Vitra CEO Rolf Fehlbaum founded the museum in 1989 as an independent private foundation.
The museum, Frank O. Gehry’s first European building, an architectural attraction, is realised in cooperation with the Lörrach architect Günter Pfeifer. Together with the museum, which was originally just designed to house Rolf Fehlbaum's private collection, Gehry also built a more functional-looking production hall and a gatehouse for the close-by Vitra factory.
Although Gehry used his trademark sculptural deconstructivist style for the museum building, he limited himself to white plaster and a titanium-zinc alloy, not opting for his usual mix of materials. He allowed curved forms to break up his more usual angular shapes.
Architecture critic Paul Heyer describes the general impression on the visitor as
“... a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display...”
The geometry of the building does not feel contrived, or particularly noticeable, as you go around the exhibitions. From the outside it does feel both those things, but it is at home among the other architectural showpieces that make up the Vitra site.
The unconventional geometry defying regular repetitive structure evolved from computer equipment to generate and produce any shape of structural elements.
The inception of the Vitra Design Museum dates back to the early 1980s. With the aim of documenting the history of the Vitra company, Vitra CEO Rolf Fehlbaum began collecting the furniture of designers who had influenced the company's development, such as Charles and Ray Eames, George Nelson, Alvar Aalto, and Jean Prouvé. The design museum houses temporary exhibitions on themes of furniture design, and Gehry's building makes a suitable host for them - in keeping with the theme, but - once inside - supporting, not competing with, the exhibitions. As well as Frank Gehry, Alvaro Siza, Nicholas Grimshaw, Tadao Ando and Zaha Hadid are all represented with separate buildings on the grounds of Vitra, in a cross between an industrial plant and a model village.
The museum, Frank O. Gehry’s first European building, an architectural attraction, is realised in cooperation with the Lörrach architect Günter Pfeifer. Together with the museum, which was originally just designed to house Rolf Fehlbaum's private collection, Gehry also built a more functional-looking production hall and a gatehouse for the close-by Vitra factory.
Although Gehry used his trademark sculptural deconstructivist style for the museum building, he limited himself to white plaster and a titanium-zinc alloy, not opting for his usual mix of materials. He allowed curved forms to break up his more usual angular shapes.
Architecture critic Paul Heyer describes the general impression on the visitor as
“... a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display...”
The geometry of the building does not feel contrived, or particularly noticeable, as you go around the exhibitions. From the outside it does feel both those things, but it is at home among the other architectural showpieces that make up the Vitra site.
The unconventional geometry defying regular repetitive structure evolved from computer equipment to generate and produce any shape of structural elements.
The inception of the Vitra Design Museum dates back to the early 1980s. With the aim of documenting the history of the Vitra company, Vitra CEO Rolf Fehlbaum began collecting the furniture of designers who had influenced the company's development, such as Charles and Ray Eames, George Nelson, Alvar Aalto, and Jean Prouvé. The design museum houses temporary exhibitions on themes of furniture design, and Gehry's building makes a suitable host for them - in keeping with the theme, but - once inside - supporting, not competing with, the exhibitions. As well as Frank Gehry, Alvaro Siza, Nicholas Grimshaw, Tadao Ando and Zaha Hadid are all represented with separate buildings on the grounds of Vitra, in a cross between an industrial plant and a model village.
References:
* Images by Liao Yusheng
* Great Buildings
* Wikipedia
* Galinksy
* Dane Johns/ Lachlan Stanton/ Sarah Passarelli
* P. Heyer, American Architecture: Ideas and Ideologies, p233-234.
* YouTube Video: Published by ricardoavella on April 9, 2008.
* H. Seidler, The Grand Tour: Travelling the World with an Architect's eye, TASCHEN, 2003, p112.
Saturday, September 19, 2009
Case Study
CASE STUDY
Walt Disney Hall - Frank Gehry
Designed by architect Frank Gehry, Walt Disney Concert Hall, new home of the Los Angeles Philharmonic, is designed to be one of the most acoustically sophisticated concert halls in the world, providing both visual and aural intimacy for an unparalleled musical experience. Through the vision and generosity of Lillian Disney, the Disney family, and many other individual and corporate donors, the city will enjoy one of the finest concert halls in the world, as well as an internationally recognized architectural landmark.
From the stainless steel curves of its striking exterior to the state-of-the-art acoustics of the hardwood-paneled main auditorium, the 3.6-acre complex embodies the unique energy and creative spirit of the city of Los Angeles and its orchestra.
In 1987, the late Lillian Disney made an initial gift of $50 million to build a world-class performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney's devotion to the arts. Since then, other gifts and accumulated interest bring the Disney family's total contribution to over $100 million. The County of Los Angeles agreed to provide the land and significant additional funding to finance Walt Disney Concert Hall's six-level subterranean parking garage.
In 1988, renowned architect Frank Gehry was selected to design the complex, whose final shape he unveiled in 1991. The County initiated construction of the parking garage in 1992, completing it in 1996. Construction on the Concert Hall itself began in November 1999.
In 1988, renowned architect Frank Gehry was selected to design the complex, whose final shape he unveiled in 1991. The County initiated construction of the parking garage in 1992, completing it in 1996. Construction on the Concert Hall itself began in November 1999.
References:
* Francesco Dal Co, Kurt, Forster, Frank O. Gehry: The Complete Works, The Monacelli Press, 2006.
* Hollywood Bowl: Walt Disney Concert Hall
* Plans and Sections Images
Friday, September 18, 2009
Thursday, September 3, 2009
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