Wednesday, November 3, 2010
Final A1 Posters
Filefront Link to download Posters.
http://www.filefront.com/17472996/Arch1390 3Posters.pdf
Tuesday, November 2, 2010
Friday, October 8, 2010
10 Textures
Image References
Wood - http://www.countyfloors.net/store/listing_image.php?productid=17084
Accessed 08/10/2010
White Wash Wall - http://del4yo.blogs.com/non_dairy_diary/files/white.jpg
Accessed 08/10/2010
Tree Trunk - http://everystockphoto.s3.amazonaws.com/bark_tree_texture_221398_l.jpg
Accessed 08/10/2010
Metal - http://www.psdgraphics.com/wp-content/uploads/2009/03/brushed_metal_texture.jpg
Accessed 08/10/2010
Leather - http://www.danic71.com/wp/wp-content/gallery/leather/leather1.jpg
Accessed 08/10/2010
Grass - http://www.turbosquid.com/FullPreview/Index.cfm/ID/225699
Accessed 08/10/2010
Glass - http://www.sillice.com/images/tiles/m-lightblue-3.jpg
Accessed 08/10/2010
Ceramic Tile - http://www.ceramictileland.com/wp-content/uploads/2009/02/traventino_m086_p086_60x60cm.jpg
Accessed 08/10/2010
Carpet - http://www.istockphoto.com/file_closeup/objects-equipment/1347963-white-carpet-texture.php?id=1347963
Accessed 08/10/2010
Marble - http://www.vray-materials.de/all_materials.php?mat=1898
Accessed 08/10/2010
Vitra Design Museum Concept Idea
I have decided to remodel the Vitra Design Museum into a tree house. Oddly enough i got this idea by looking at a tree and started to research different designs of tree houses, i came across a restaurant in New Zealand that is situated on a tree. This restaurant was designed by the firm Pacific Environment Architects and was part of a marketing campaign for the Yellow Pages.
My concept will be to pull apart the current Vitra Design Museum into separate pieces making the tree trunk the central core of the building and have these pieces stick out from the tree having habitable spaces on separate tree and then linking them together. Seeing that the shape of the Vitra Design Museum has a more contemporary feel the internal layout will also have a contemporary design.
Apart from the restaurant from New Zealand, here are some images that have influenced my design concept.
Image References
New Zealand Restaurant - http://inhabitat.com/2010/04/20/new-zealand-treehouse-restaurant-wins-multiple-awards/
Accessed 08/10/2010
Influences
- http://www.newhouseofart.com/contemporary-tree-house-architecture-design-california-standard-architects/
Accessed 08/10/2010
- http://www.homedesignfind.com/wp-content/uploads/2008/11/treehouse-4treehouse.jpg
Accessed 08/10/2010
- http://www.indesignlive.com/articles/projects/treehouse-dwellings
Accessed 08/10/2010
My concept will be to pull apart the current Vitra Design Museum into separate pieces making the tree trunk the central core of the building and have these pieces stick out from the tree having habitable spaces on separate tree and then linking them together. Seeing that the shape of the Vitra Design Museum has a more contemporary feel the internal layout will also have a contemporary design.
Apart from the restaurant from New Zealand, here are some images that have influenced my design concept.
Image References
New Zealand Restaurant - http://inhabitat.com/2010/04/20/new-zealand-treehouse-restaurant-wins-multiple-awards/
Accessed 08/10/2010
Influences
- http://www.newhouseofart.com/contemporary-tree-house-architecture-design-california-standard-architects/
Accessed 08/10/2010
- http://www.homedesignfind.com/wp-content/uploads/2008/11/treehouse-4treehouse.jpg
Accessed 08/10/2010
- http://www.indesignlive.com/articles/projects/treehouse-dwellings
Accessed 08/10/2010
Wednesday, October 6, 2010
Wednesday, September 29, 2010
Frank Gehry
Experience Music Project (1999 - 2000)
Location: Seattle, Washington
The Experience Music Project is a blend of exhibits, technology, media, and hands-on activities that combines the interpretive aspects of a traditional museum, educational role of a school, state-of-the-art research facilities of a specialized library, and audience-drawing qualities of performance venues and popular attractions.
The Experience Music Project is a building that presents opportunities to explore its history and traditions, participate in the music making process, experience great music, and learn the secrets of composition and performance.
The building is a commemoration to Jimi Hendrix, one of America's a most creative, innovative, and influential musical artists.It exhibits and public programs are envisioned as a three-dimensional floating puzzle formed by six elements, with each piece being critical to the shape and the nature of the whole.
The Sky Church, a concept inspired by Jimi Hendrix, represents the coming together of all types of people united by the power and joy of music and music making, and is physically embodied in the building's central public gathering area. Through a series of exhibition spaces, The Crossroads presents the collision of multiple viewpoints and traditions, which is American popular music.
The Sound Lab offers hands-on opportunities to create and illustrate
some of the relationships between music, science, and technology. The Artist's Journey is a compelling history of the life and times of artists, illuminating the human aspect of their artistry and revealing the unexpected events and formative experiences that contributed to their creative development. The Electric Library is a multimedia archive of the Experience Music Project collection and information resources, and provides services that are available both on site and on-line.
Sources:
http://www.arcspace.com/architects/gehry/emp_n/
Accessed 30/09/2010
http://www.greatbuildings.com/buildings/Experience_Music_Project.html
Accessed 30/09/2010
Images from http://www.greatbuildings.com/buildings/Experience_Music_Project.html
Location: Seattle, Washington
The Experience Music Project is a blend of exhibits, technology, media, and hands-on activities that combines the interpretive aspects of a traditional museum, educational role of a school, state-of-the-art research facilities of a specialized library, and audience-drawing qualities of performance venues and popular attractions.
The Experience Music Project is a building that presents opportunities to explore its history and traditions, participate in the music making process, experience great music, and learn the secrets of composition and performance.
The building is a commemoration to Jimi Hendrix, one of America's a most creative, innovative, and influential musical artists.It exhibits and public programs are envisioned as a three-dimensional floating puzzle formed by six elements, with each piece being critical to the shape and the nature of the whole.The Sky Church, a concept inspired by Jimi Hendrix, represents the coming together of all types of people united by the power and joy of music and music making, and is physically embodied in the building's central public gathering area. Through a series of exhibition spaces, The Crossroads presents the collision of multiple viewpoints and traditions, which is American popular music.
The Sound Lab offers hands-on opportunities to create and illustrate
some of the relationships between music, science, and technology. The Artist's Journey is a compelling history of the life and times of artists, illuminating the human aspect of their artistry and revealing the unexpected events and formative experiences that contributed to their creative development. The Electric Library is a multimedia archive of the Experience Music Project collection and information resources, and provides services that are available both on site and on-line.
http://www.arcspace.com/architects/gehry/emp_n/
Accessed 30/09/2010
http://www.greatbuildings.com/buildings/Experience_Music_Project.html
Accessed 30/09/2010
Images from http://www.greatbuildings.com/buildings/Experience_Music_Project.html
Wednesday, September 15, 2010
Wednesday, September 1, 2010
Rendered Habitat
2 Architectural Pieces
Saint Paul's Cathedral
Saint Paul's Cathedral St Paul's Cathedral is an Anglican cathedral on Ludgate Hill, the highest point in the City of London, and is the seat of the Bishop of London. The present building dates from the 17th century and was designed by Sir Christopher Wren. It is generally reckoned to be London's fifth St Paul's Cathedral, all having been built on the same site since AD 604. The cathedral is one of London's most famous and most recognisable sights. At 365 feet (111m) high, it was the tallest building in London from 1710 to 1962, and its dome is also among the highest in the world. Important services held at St. Paul's include the funerals of Lord Nelson, the Duke of Wellington and Sir Winston Churchill; Jubilee celebrations for Queen Victoria; peace services marking the end of the First and Second World Wars; the launch of the Festival of Britain and the thanksgiving services for both the Golden Jubilee and 80th Birthday of Her Majesty the Queen. The Royal Family holds most of its important marriages, christenings and funerals at Westminster Abbey, but St Paul's was used for the marriage of Charles, Prince of Wales and Lady Diana Spencer. St Paul's Cathedral is still a busy working church, with hourly prayer and daily services.
Reference:
http://www.answers.com/topic/st-paul-s-cathedral
Accessed 30/08/2010
Accessed 30/08/2010
Saint Paul's Cathedral St Paul's Cathedral is an Anglican cathedral on Ludgate Hill, the highest point in the City of London, and is the seat of the Bishop of London. The present building dates from the 17th century and was designed by Sir Christopher Wren. It is generally reckoned to be London's fifth St Paul's Cathedral, all having been built on the same site since AD 604. The cathedral is one of London's most famous and most recognisable sights. At 365 feet (111m) high, it was the tallest building in London from 1710 to 1962, and its dome is also among the highest in the world. Important services held at St. Paul's include the funerals of Lord Nelson, the Duke of Wellington and Sir Winston Churchill; Jubilee celebrations for Queen Victoria; peace services marking the end of the First and Second World Wars; the launch of the Festival of Britain and the thanksgiving services for both the Golden Jubilee and 80th Birthday of Her Majesty the Queen. The Royal Family holds most of its important marriages, christenings and funerals at Westminster Abbey, but St Paul's was used for the marriage of Charles, Prince of Wales and Lady Diana Spencer. St Paul's Cathedral is still a busy working church, with hourly prayer and daily services.
Reference:http://www.answers.com/topic/st-paul-s-cathedral
Accessed 30/08/2010
Royal Observatory, Greenwich
Accessed 30/08/2010
Arhcitect
After a showing my tutor Steve my architect i was advised to find an architect that had some influence to my design. I have chosen Sir Christopher Wren the architect of Saint Paul's Cathedral as my internal design reminds me of a cathedral.
Here is biography from http://www.answers.com/sir%20christopher%20wren
Accessed on 30/08/2010
Christopher Wren was born in East Knoyle, Wiltshire, on Oct. 20, 1632, and educated at Oxford. Apparently destined for a career as a scientific scholar, he became professor of astronomy at Gresham College in London when he was 24. In 1661 he was appointed Savilian professor of astronomy at Oxford.
Wren did not give his attention to architecture until he was 30. No information is available to explain the development of his interest in architecture, but his training in science and mathematics and his ability in solving practical scientific problems provided him with the technical training necessary for a man who was to undertake complex architectural projects. His temperament and education, and the society in which he moved, would naturally have inclined him to wide interests.
Early Career
Wren's first venture into architecture came in 1662, when he designed the Sheldonian Theatre at Oxford, a building intended for university ceremonies. Based upon the concept of a Roman theater, his ingenious interior design left the space free of supports or columns, but for the exterior he had recourse to unimaginative copying from old architectural pattern books.
Wren made only one journey out of England, a visit of several months to France in 1665 to study French Renaissance and baroque architecture. The French journey had significant influence on his work and provided him with a rich source of inspiration.
After the Great Fire of 1666, which destroyed much of London, King Charles appointed Wren a member of the commission created to supervise the reconstruction of the city. He had already drawn up a visionary plan for a new London. His design was typical of 17th-century city planning and called for a combination of radiating and grid-plan streets accented by squares and vistas, but his plan was not accepted.
Wren was given the responsibility for replacing the 87 parish churches demolished by the Great Fire. Between 1670 and 1686 he designed 51 new churches; they constitute a major part of the vast amount of work done by him and are known as the City Churches. They are uneven in quality both in design and execution, and their varied plans and famous steeples reveal Wren's empirical eclecticism and his ingenuity. The churches are essentially classical in design or baroque variations on classical themes as adapted to English taste and the requirements of Anglican worship. His work on the City Churches firmly established his position as England's leading architect; he was appointed surveyor general in 1669, a post which he held until 1718, and was knighted in 1673.
While Wren was working on the City Churches, he undertook many other projects. One of the most important was Trinity College Library at Cambridge (1676-1684), an elegantly severe building derived from the late Italian Renaissance classicism of Andrea Palladio as transmitted to England by Inigo Jones in the early 17th century. By 1670 Wren was also at work on designs for a new St. Paul's Cathedral.
St. Paul's Cathedral
St. Paul's, which took nearly 35 years to build, is Wren's masterpiece. The Great Fire had so damaged the old St. Paul's as to render it dangerous, and the authorities decided that a new cathedral was needed. In 1673 Wren presented an impressive design in the form of a large wooden model known as the Great Model. The Great Model, which still exists, shows a cathedral based on a Greek-cross plan and dominated by a massive central dome. The exterior of the building was to have curved walls and an entrance block faced with a portico of giant Corinthian columns. The design of the Great Model is Wren's expression of baroque vitality tempered by classicism and reveals the influence of French and Italian architecture as well as that of Inigo Jones.
The English were accustomed to cathedrals built on the medieval Latin-cross plan with a long nave; the Great Model design, which was much criticized, departed from this tradition and seemed to the Protestant English to be too Continental and too Catholic. In the face of such opposition, Wren prepared a new design based on the Latin cross with a dome over the crossing and a classical portico entrance. This compromise, known as the Warrant Design, was accepted in 1675, but as the building progressed Wren made many changes which reflected his increasing knowledge of French and Italian baroque architecture gained from books and engravings. The Cathedral as finished in the early 18th century is very different from the Warrant Design; the building, a synthesis of many stylistic influences, is also Wren's uniquely organic creation. With its splendid dome, impressive scale, and dramatic grandeur, St. Paul's is fundamentally a baroque building, but it is English Protestant baroque in its restraint and disciplined gravity.
Later Work
After 1675 English architecture began to turn away from the sober Palladianism of Wren's Trinity College Library and to manifest influences from Continental baroque architecture. These trends are evident in St. Paul's and in his later works. English taste rejected the emotional drama and fluid design of Italian and German baroque and was closer to the classical baroque of France. Nevertheless, during the last quarter of the century English architects began to conceive of buildings in baroque terms, that is, as sculptural masses on a large scale, and to introduce elements of richness, grandeur, and royal splendor which reflected the temper of the age. Important example of Wren's design in the idiom of the English baroque are the Royal Hospital at Chelsea (1682-1689), the work done at Hampton Court Palace (1689-1696) for King William III and Queen Mary, and the Royal Naval Hospital at Greenwich (1696-1705).
Wren died in London on Feb. 25, 1723, and was buried in St. Paul's. His tomb bears a simple inscription: "Reader, if you seek his monument, look about you."
Here is biography from http://www.answers.com/sir%20christopher%20wren
Accessed on 30/08/2010
Christopher Wren was born in East Knoyle, Wiltshire, on Oct. 20, 1632, and educated at Oxford. Apparently destined for a career as a scientific scholar, he became professor of astronomy at Gresham College in London when he was 24. In 1661 he was appointed Savilian professor of astronomy at Oxford.
Wren did not give his attention to architecture until he was 30. No information is available to explain the development of his interest in architecture, but his training in science and mathematics and his ability in solving practical scientific problems provided him with the technical training necessary for a man who was to undertake complex architectural projects. His temperament and education, and the society in which he moved, would naturally have inclined him to wide interests.
Early Career
Wren's first venture into architecture came in 1662, when he designed the Sheldonian Theatre at Oxford, a building intended for university ceremonies. Based upon the concept of a Roman theater, his ingenious interior design left the space free of supports or columns, but for the exterior he had recourse to unimaginative copying from old architectural pattern books.
Wren made only one journey out of England, a visit of several months to France in 1665 to study French Renaissance and baroque architecture. The French journey had significant influence on his work and provided him with a rich source of inspiration.
After the Great Fire of 1666, which destroyed much of London, King Charles appointed Wren a member of the commission created to supervise the reconstruction of the city. He had already drawn up a visionary plan for a new London. His design was typical of 17th-century city planning and called for a combination of radiating and grid-plan streets accented by squares and vistas, but his plan was not accepted.
Wren was given the responsibility for replacing the 87 parish churches demolished by the Great Fire. Between 1670 and 1686 he designed 51 new churches; they constitute a major part of the vast amount of work done by him and are known as the City Churches. They are uneven in quality both in design and execution, and their varied plans and famous steeples reveal Wren's empirical eclecticism and his ingenuity. The churches are essentially classical in design or baroque variations on classical themes as adapted to English taste and the requirements of Anglican worship. His work on the City Churches firmly established his position as England's leading architect; he was appointed surveyor general in 1669, a post which he held until 1718, and was knighted in 1673.
While Wren was working on the City Churches, he undertook many other projects. One of the most important was Trinity College Library at Cambridge (1676-1684), an elegantly severe building derived from the late Italian Renaissance classicism of Andrea Palladio as transmitted to England by Inigo Jones in the early 17th century. By 1670 Wren was also at work on designs for a new St. Paul's Cathedral.
St. Paul's Cathedral
St. Paul's, which took nearly 35 years to build, is Wren's masterpiece. The Great Fire had so damaged the old St. Paul's as to render it dangerous, and the authorities decided that a new cathedral was needed. In 1673 Wren presented an impressive design in the form of a large wooden model known as the Great Model. The Great Model, which still exists, shows a cathedral based on a Greek-cross plan and dominated by a massive central dome. The exterior of the building was to have curved walls and an entrance block faced with a portico of giant Corinthian columns. The design of the Great Model is Wren's expression of baroque vitality tempered by classicism and reveals the influence of French and Italian architecture as well as that of Inigo Jones.
The English were accustomed to cathedrals built on the medieval Latin-cross plan with a long nave; the Great Model design, which was much criticized, departed from this tradition and seemed to the Protestant English to be too Continental and too Catholic. In the face of such opposition, Wren prepared a new design based on the Latin cross with a dome over the crossing and a classical portico entrance. This compromise, known as the Warrant Design, was accepted in 1675, but as the building progressed Wren made many changes which reflected his increasing knowledge of French and Italian baroque architecture gained from books and engravings. The Cathedral as finished in the early 18th century is very different from the Warrant Design; the building, a synthesis of many stylistic influences, is also Wren's uniquely organic creation. With its splendid dome, impressive scale, and dramatic grandeur, St. Paul's is fundamentally a baroque building, but it is English Protestant baroque in its restraint and disciplined gravity.
Later Work
After 1675 English architecture began to turn away from the sober Palladianism of Wren's Trinity College Library and to manifest influences from Continental baroque architecture. These trends are evident in St. Paul's and in his later works. English taste rejected the emotional drama and fluid design of Italian and German baroque and was closer to the classical baroque of France. Nevertheless, during the last quarter of the century English architects began to conceive of buildings in baroque terms, that is, as sculptural masses on a large scale, and to introduce elements of richness, grandeur, and royal splendor which reflected the temper of the age. Important example of Wren's design in the idiom of the English baroque are the Royal Hospital at Chelsea (1682-1689), the work done at Hampton Court Palace (1689-1696) for King William III and Queen Mary, and the Royal Naval Hospital at Greenwich (1696-1705).
Wren died in London on Feb. 25, 1723, and was buried in St. Paul's. His tomb bears a simple inscription: "Reader, if you seek his monument, look about you."
Wednesday, August 18, 2010
Architect - Renzo Piano
Renzo Piano was born in Genoa (Italy) on September 14, 1937, he studied in 1957 at Polytechnico Milano School of Architecture, taught by Franco Albini & graduated in 1964.
As a student he was working under Franco Albini, while also regularly attending his father's buildings sites where he got valuable practical experience. Between 1965 and 1970, he completed his formation and wor experiments with study travels in Britain and America. It was then he met Richard Rogers in 1971 when he founded the "Piano and Rogers Agency", his partner on the Centre Pompiduo project in Paris. Renzo Piano then founded " I'Atelier Piano & Rice" with the engineer Peter Rice who would work with him on many projects till his death in 1992.
Renzo Piano grew up in an environment where building was a family occupation & was inspired by his family. His grandfather, father, 4 uncles and his brothers all worked in construction. After studying in Milan & working for his father, he travelled and gained valuable work experience with many influencial architects of the time. Renzo Piano then went to work in the office of Louis I Kahn in Philadelphia, USA & Z.S Makowsky in London,UK. Renzo Piano first major commission came in 1969 designing the Intalian Industrial Pavillion at the 1970 expo in Osaka which his brothers built and installed. Renzo Piano’s work is elegant and organic, many of his project are iconic including Aurora Place in Sydney, the auditorium parco della musica in rome and the shard london bridge skyscraper.
He then founded Renzo Piano Building Workshop with offices in Paris and Genoa, some 100 people work with him ( amoung which architects,engineers and specialists.) in close collaboration with some associated architects linked to him by years of experience.
Renzo Piano has won many awards in his career, here is a list of his awards.
- 1981 wins Compasso d’Oro Award in Milan
- 1985 awarded Legion d’Honneur in Paris
- 1989 awarded the royal gold medal of architecture from the Royal Institute of British Architects
- 1990 awarded Koyoto prize in koyoto
- 1991 awarded the neutra prize in California
- 1998 awarded the pritzker architecture prize
2008 awarded the sonning prize (prestigious cultural awardm in denmark)
Sources:
www. rpbw.r.ui-pro.com
accessed 18/08/2010
http://www.greatbuildings.com/architects/Renzo_Piano.html
accessed 18/08/2010
Architectural Piece Two
Renzo Piano - Auditorium Parco Della Musica.
Parco Della Musica is composed of three seperate halls, Santa Cecilia which can seat 2,800 people, Sinopoli which can seat 1,200 people and the Petrassi which can seat 750 people. The
shape of the three halls were inspired by musical instruments. It not only has three halls but a theatre studio, studio 1,2,3 a foyer and a cavea (Latin term for seating round an amphitheater). Each of the three halls is different in size and has been constructed with the aim of satisfying the need of any musical genre.
The Santa Cecilia Hall can be used for large orchestral and symphonic concerts. The covering shell vaults, of exceptional sizes are made with frames of girders of glue laminated wood
combined with steel elements. Towards the middle of the stage is surrounded y the “vineyards” (which is seated places that rise like a valace around the stage.) The innovative concept is
that of the suspended ceiling, it is made with 26 shells of American cherry wood, each one has a 180 square metre surface. The pit and the galleries are veneered with wood in order to make a
harmonic chamber out of the hall guaranteeing excellent acoustic. The sinopoli hall, because of its greater acoustic flexibility it is more suitable for a great variety of musical genres. The hall
is mainly for symphonic music with or without a choir. The sinopoli hall’s main feature is its extremely flexible stage. The possibility of changing the size of the stage, of the choir, of the
orchestra and of the audience allows the sound reverberation tuning. This means that ballet, contemporary music concerts and other types of shows can be held there.
The petrassi is the smallest hall but is a real musical theatre, there is a pit for the orchestra and the stage is well equipped to allow for stage and dress changes. The two stage flank
walls can rotate by 90 degrees and has Italian made drop curtains which are for the opera and theatrical shows. By keeping the flank walls in the original position allows a so called
“open Scene” stage that can be used for chamber and symphonic music concerts as well as theatre performances and screen projections. The Petrassi hall has been assigned to contemporary music genres, theatre performances and cinema, this is because it has a in built system that allows both musical source and the audience to be shifted and the sound reverberation tuned.
The theatre studio can seat up to 350 people and is used as a multi functional space. The Cavea is the open air amphitheater at the centre of the auditorium which can hold up to 3,000
spectators. The cavea, named after the composer luciano berio, is the physical demonstration of the main concept behind the whole auditorium project, it acts as a open air amphitheater and
a square. The cavea has gradually become a meeting place, it is now part of the urban context and is used in everyday life as a normal city square.
Apart from the exclusive areas dedicated to music the auditorium also has spaces for conferences, debates, meetings with composers and musicians, research (there is a library and a listening room) and didatic purposes (vocal, musical and multimedia workshops). There is also a bar, bookstore and a restaurant where people may take a pleasant rest.
Sources:
www.auditorium.com
accessed 18/08/2010
www. rpbw.r.ui-pro.com
accessed 18/08/2010
Parco Della Musica is composed of three seperate halls, Santa Cecilia which can seat 2,800 people, Sinopoli which can seat 1,200 people and the Petrassi which can seat 750 people. The
shape of the three halls were inspired by musical instruments. It not only has three halls but a theatre studio, studio 1,2,3 a foyer and a cavea (Latin term for seating round an amphitheater). Each of the three halls is different in size and has been constructed with the aim of satisfying the need of any musical genre.
The Santa Cecilia Hall can be used for large orchestral and symphonic concerts. The covering shell vaults, of exceptional sizes are made with frames of girders of glue laminated wood
combined with steel elements. Towards the middle of the stage is surrounded y the “vineyards” (which is seated places that rise like a valace around the stage.) The innovative concept is
that of the suspended ceiling, it is made with 26 shells of American cherry wood, each one has a 180 square metre surface. The pit and the galleries are veneered with wood in order to make a
harmonic chamber out of the hall guaranteeing excellent acoustic. The sinopoli hall, because of its greater acoustic flexibility it is more suitable for a great variety of musical genres. The hall
is mainly for symphonic music with or without a choir. The sinopoli hall’s main feature is its extremely flexible stage. The possibility of changing the size of the stage, of the choir, of the
orchestra and of the audience allows the sound reverberation tuning. This means that ballet, contemporary music concerts and other types of shows can be held there.
The petrassi is the smallest hall but is a real musical theatre, there is a pit for the orchestra and the stage is well equipped to allow for stage and dress changes. The two stage flank
walls can rotate by 90 degrees and has Italian made drop curtains which are for the opera and theatrical shows. By keeping the flank walls in the original position allows a so called
“open Scene” stage that can be used for chamber and symphonic music concerts as well as theatre performances and screen projections. The Petrassi hall has been assigned to contemporary music genres, theatre performances and cinema, this is because it has a in built system that allows both musical source and the audience to be shifted and the sound reverberation tuned.
The theatre studio can seat up to 350 people and is used as a multi functional space. The Cavea is the open air amphitheater at the centre of the auditorium which can hold up to 3,000
spectators. The cavea, named after the composer luciano berio, is the physical demonstration of the main concept behind the whole auditorium project, it acts as a open air amphitheater and
a square. The cavea has gradually become a meeting place, it is now part of the urban context and is used in everyday life as a normal city square.
Apart from the exclusive areas dedicated to music the auditorium also has spaces for conferences, debates, meetings with composers and musicians, research (there is a library and a listening room) and didatic purposes (vocal, musical and multimedia workshops). There is also a bar, bookstore and a restaurant where people may take a pleasant rest.
Sources:
www.auditorium.com
accessed 18/08/2010
www. rpbw.r.ui-pro.com
accessed 18/08/2010
Architectural Piece One
Renzo Paino.
California Academy of Science.
The new Academy rises on the same site of the former California Academy of Science in the Golden Gate Park. The design required the demolition of most the 11 existing buildings, built between 1916 and 1991. Its primary goal is to provide a modern facility for exhibition, education, conservation and research under one roof according to sustainable design strategies.
Natural ventilation instead of air conditioning for large parts of the building, carefully chosen building materials, an efficient use and re-use of water as well as the generation of energy are integral parts of the design. A green roof,landscape with native plant species, unifies the different functions. It undulates to accommodate the Academy's major components: the new planetarium, the rain forest exhibit and the Steinhart Aquarium entrance. In the centre of this "Living Roof" a glazed skylight covers the Piazza, while other smaller skylights allow natural light into the exhibit space and provide natural ventilation. The roof extends beyond the perimeter walls into glass canopy to provide shade,protect from the rain and generate energy through more than 55,000 photo voltaic cells in the glass. The material palette for the complex as a whole remains simple: limestone,architectural concrete,steel,aluminum and extra clear glass.
Sources:
Architectural Week Magazine ( No. 405. 12 November 2008) - http://www.architectureweek.com/2008/1112index.html
Accessed on 18/08/2010
Renzo Piano Building Workshop website - http://rpbw.r.ui-pro.com/
Accessed on 18/08/2010
California Academy of Science.
The new Academy rises on the same site of the former California Academy of Science in the Golden Gate Park. The design required the demolition of most the 11 existing buildings, built between 1916 and 1991. Its primary goal is to provide a modern facility for exhibition, education, conservation and research under one roof according to sustainable design strategies.
Natural ventilation instead of air conditioning for large parts of the building, carefully chosen building materials, an efficient use and re-use of water as well as the generation of energy are integral parts of the design. A green roof,landscape with native plant species, unifies the different functions. It undulates to accommodate the Academy's major components: the new planetarium, the rain forest exhibit and the Steinhart Aquarium entrance. In the centre of this "Living Roof" a glazed skylight covers the Piazza, while other smaller skylights allow natural light into the exhibit space and provide natural ventilation. The roof extends beyond the perimeter walls into glass canopy to provide shade,protect from the rain and generate energy through more than 55,000 photo voltaic cells in the glass. The material palette for the complex as a whole remains simple: limestone,architectural concrete,steel,aluminum and extra clear glass.
Sources:Architectural Week Magazine ( No. 405. 12 November 2008) - http://www.architectureweek.com/2008/1112index.html
Accessed on 18/08/2010
Renzo Piano Building Workshop website - http://rpbw.r.ui-pro.com/
Accessed on 18/08/2010
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