White Rendered Concrete
Possible Driveway Texture
2 Grey Metal Variations
Frosted Glass
A wide range of grasses
Thursday, October 15, 2009
Gehry's Green Gallery
To those that appreciate good art and design, galleries send individuals back to their element, their personal nirvana. A place of peace where they can submerge themselves in the works and what it evokes within them. So why not redevelop one of the worlds most well know galleries so it matches this same nirvana that the works held within it flood into the space.
The Vitra Design Museum by Frank Gehry is an amazing well design presentation gallery. Its extrusions of odd shapes are alone an iconic piece of art that makes it recognisable around the world. That is why I have changed only the slightest design aspects of this icon to accommodate its major redevelopment in my new envisioned design, partial subterranean placement. This change brings many benefits to the gallery both in its aesthetic appeal and its practicality.
There has been a tremendous surge in “Green” architecture over the last few years and with good scientific reasons too. It’s irresponsible to redevelop any form of existing architecture without taking some of the developments in architectural and structural technologies into consideration. A good designer will even consider future technologies so the structure is already appropriate for them without the need for major renovations. Roofs with living vegetation on them is an ideal way to address many issue surround “green” architecture.
Although for some a mere patch of grass lost is considered an acceptable loss in the battle to keep our air clean it is quiet the opposite. More then 80% of the worlds carbon dioxide is recycled in simple plain old grass which makes it an absolute priority that all “green” architecture maintain and if not introduce more grass into a area. This is why submerging the Vitra Design Museum and allowing the surround field to grow and form a living vegetation roof is such an important global issue.
This concept will also have many great benefits for the structure. The grass atop the roof acts as an ideal from of natural insulation, actively cooling the building on hot days and maintains temperature on cold days. It’s the same principle as a rabbit’s warren only on a much larger scale. This will reduce the power consumption of the gallery by greatly decreasing the need for cooling and heating systems to be used. This of course reduces the all important carbon footprint of the building, which is undeniably, a great advantage of the design. The grass, along with a little help from some cleverly designed catchment systems, also acts as rainwater harvest. The collected rainwater can then be recycled into many aspects of the galleries utilities including clean sewerage water and landscaping purposes.
Aesthetically the redeveloped design does not detract from any of the previous designs eye catching attributes as these well recognised extrusions remain in the landscape from a distance appear and unique mounds and gullies in the exquisite simple terrain. As an individual approaches the extrusions become clear as a building and the concept materialises in their mind. The previous design developed feeling within one’s self about the sculptural aspects of the design, this update to the development is much more subtle on the impact it has as a sculpture but rather as a collection of sculptures on the landscape that happen to house a gallery underneath. To those within the architectural field it will be clear what has been done and the appreciated as fine design and those that merely come to visit a landmark although not with a clear understanding and interpretation of the structure will appreciate its uniqueness and quirks that separate it from most of the worlds public architectural icons
The Vitra Design Museum by Frank Gehry is an amazing well design presentation gallery. Its extrusions of odd shapes are alone an iconic piece of art that makes it recognisable around the world. That is why I have changed only the slightest design aspects of this icon to accommodate its major redevelopment in my new envisioned design, partial subterranean placement. This change brings many benefits to the gallery both in its aesthetic appeal and its practicality.
There has been a tremendous surge in “Green” architecture over the last few years and with good scientific reasons too. It’s irresponsible to redevelop any form of existing architecture without taking some of the developments in architectural and structural technologies into consideration. A good designer will even consider future technologies so the structure is already appropriate for them without the need for major renovations. Roofs with living vegetation on them is an ideal way to address many issue surround “green” architecture.
Although for some a mere patch of grass lost is considered an acceptable loss in the battle to keep our air clean it is quiet the opposite. More then 80% of the worlds carbon dioxide is recycled in simple plain old grass which makes it an absolute priority that all “green” architecture maintain and if not introduce more grass into a area. This is why submerging the Vitra Design Museum and allowing the surround field to grow and form a living vegetation roof is such an important global issue.
This concept will also have many great benefits for the structure. The grass atop the roof acts as an ideal from of natural insulation, actively cooling the building on hot days and maintains temperature on cold days. It’s the same principle as a rabbit’s warren only on a much larger scale. This will reduce the power consumption of the gallery by greatly decreasing the need for cooling and heating systems to be used. This of course reduces the all important carbon footprint of the building, which is undeniably, a great advantage of the design. The grass, along with a little help from some cleverly designed catchment systems, also acts as rainwater harvest. The collected rainwater can then be recycled into many aspects of the galleries utilities including clean sewerage water and landscaping purposes.
Aesthetically the redeveloped design does not detract from any of the previous designs eye catching attributes as these well recognised extrusions remain in the landscape from a distance appear and unique mounds and gullies in the exquisite simple terrain. As an individual approaches the extrusions become clear as a building and the concept materialises in their mind. The previous design developed feeling within one’s self about the sculptural aspects of the design, this update to the development is much more subtle on the impact it has as a sculpture but rather as a collection of sculptures on the landscape that happen to house a gallery underneath. To those within the architectural field it will be clear what has been done and the appreciated as fine design and those that merely come to visit a landmark although not with a clear understanding and interpretation of the structure will appreciate its uniqueness and quirks that separate it from most of the worlds public architectural icons
Wednesday, October 14, 2009
Tuesday, October 13, 2009
Deeper Case Study
Walt Disney Concert Hall
Context:
The Walt Disney Concert Hal is on Bunker Hill along side the Music Centre of Los Angeles an appropriate location as it is a centre for musical culture in the downtown Los Angeles area.
Design brief:
The project was originally instituted as a competition by The Disney family and included many strict considerations that had to be met including a relationship to the existing Chandler Pavilion, a large backstage area and orchestra pit and most importantly it must be designed to its current position and have a large grand front door to Grand Avenue. There was however a wide variety of changes between the original competition brief and the selected design in the in 1997 and then again by the time construction finished in 1999. These included the size and shape of the foyer and exterior of the hall and the rethink and eventual elimination of the 350-room hotel that was meant to accompany the hall.
Design & construction:
In order to accommodate other aspects of design the Concert hall was placed in the middle of the land so that the rest of the land was developed into gardens that could be accessed both from within the hall but also from any angle of the city block it was on. This added to the idea of a unique image the hall had of being a bright and refreshing aspect of an otherwise dark and standard Los Angeles area. The hall was also oriented within the middle of the block so the grand main entrance was facing towards the existing music centre relating the two, it also placed the secondary entrance is place facing the other corner of Grand, which provides great access and view of the main gardens
Exterior Design
The exterior of the concert hall is a very interesting concept to try and interpret from any one mans point of view, an individual must really circle the hall a number of times and get in all the possible perspectives from them to start to build together what that hall really looks like. The stainless steel panels wrap the outside of the hall producing a flower like cover to the building; this presents a sculpture like perspective of the hall. Combined with the gardens it is a tranquil walk around the structure.
Interior Design
Ne of the main concepts that drives the more relaxed and peaceful design of the Hal is the larger backstage area for performers and stagehands. These large area and other concepts in the design like the backstage entrance opening to a semi-public garden and the rehearsal rooms placed near smaller public entrances bring the artists closer to the audience and encourages interaction where in other halls there wouldn’t be any.
As well as this a number of public main entrances require audience members to walk through open foyers which has been on occasion a great advantage allowing the Hall to put on displays and art installation related to the performance or entirely separate which adds another element of how this building brings all the arts performance and installation to Los Angeles
References:
1. Frank O. Gehry: Individual imagination and cultural conservatism, Charles Jencks
Academy Group Ltd, London 1995
2. Symphony: Frank Gehry's Walt Disney Concert Hall
F.Gehry October 2003 Abrams,Harry N Inc
3. Architecture and Process: Gehry Talks, Mildred Friedman
Rizzoli International Publications, Inc., NY 1999
Context:
The Walt Disney Concert Hal is on Bunker Hill along side the Music Centre of Los Angeles an appropriate location as it is a centre for musical culture in the downtown Los Angeles area.
Design brief:
The project was originally instituted as a competition by The Disney family and included many strict considerations that had to be met including a relationship to the existing Chandler Pavilion, a large backstage area and orchestra pit and most importantly it must be designed to its current position and have a large grand front door to Grand Avenue. There was however a wide variety of changes between the original competition brief and the selected design in the in 1997 and then again by the time construction finished in 1999. These included the size and shape of the foyer and exterior of the hall and the rethink and eventual elimination of the 350-room hotel that was meant to accompany the hall.
Design & construction:
In order to accommodate other aspects of design the Concert hall was placed in the middle of the land so that the rest of the land was developed into gardens that could be accessed both from within the hall but also from any angle of the city block it was on. This added to the idea of a unique image the hall had of being a bright and refreshing aspect of an otherwise dark and standard Los Angeles area. The hall was also oriented within the middle of the block so the grand main entrance was facing towards the existing music centre relating the two, it also placed the secondary entrance is place facing the other corner of Grand, which provides great access and view of the main gardens
Exterior Design
The exterior of the concert hall is a very interesting concept to try and interpret from any one mans point of view, an individual must really circle the hall a number of times and get in all the possible perspectives from them to start to build together what that hall really looks like. The stainless steel panels wrap the outside of the hall producing a flower like cover to the building; this presents a sculpture like perspective of the hall. Combined with the gardens it is a tranquil walk around the structure.
Interior Design
Ne of the main concepts that drives the more relaxed and peaceful design of the Hal is the larger backstage area for performers and stagehands. These large area and other concepts in the design like the backstage entrance opening to a semi-public garden and the rehearsal rooms placed near smaller public entrances bring the artists closer to the audience and encourages interaction where in other halls there wouldn’t be any.
As well as this a number of public main entrances require audience members to walk through open foyers which has been on occasion a great advantage allowing the Hall to put on displays and art installation related to the performance or entirely separate which adds another element of how this building brings all the arts performance and installation to Los Angeles
References:
1. Frank O. Gehry: Individual imagination and cultural conservatism, Charles Jencks
Academy Group Ltd, London 1995
2. Symphony: Frank Gehry's Walt Disney Concert Hall
F.Gehry October 2003 Abrams,Harry N Inc
3. Architecture and Process: Gehry Talks, Mildred Friedman
Rizzoli International Publications, Inc., NY 1999
Thursday, October 1, 2009
Vitra Design Museum Model Draft 1
In many respects I found the initially design of the Vitra Design Museum to be obscure and slightly out of place merely sitting in the middle of a field. This is not to say that I disliked the design I just thought that the combination of very simple and basic structures on the bottom and unique extrusions on top was more appropriate for a different setting. This is the basic idea that made me decide on the adaptation of the original design that I’m planning to envision, I just needed to figure out how to make the unique extrusions more of a centre piece and not awkward on top of basic shapes. My influence came from the OUTrial House built in Poland.
My idea is to partially submerge the Vitra Design Museum in the field so the basic shapes are hidden and all you can see is an odd cluster of extrusions. This may require me to expand particular extrusions so that sufficient light can get into the museum in order for the displays within to get their desired light but otherwise the basic structure will remain the same. My hope is to add more questions about the structure, evoke more intrigue and curiosity because it is my opinion that a museum holding artist’s designs and work that make people enquire should also make a person enquire and become fascinated. It will also provided visitors with an opportunity to fully appreciated the skylight/window type structures on top the Vitra Design Museum which were only partial appreciated before hand without a helicopter.
Subscribe to:
Posts (Atom)