Wednesday, September 30, 2009
Thursday, September 24, 2009
Group model and research
Group Members: Tiffany Lau, Lillian Hoang, Sharon Lam
Initial model of Vitra Design Museum
Preliminary Research
The Vitra Design Museum designed by Frank Owen Gehry began from the furniture producer, Rolf Felbaum’s wish to document the roots and history of his craft. And thus following his wish, he commissioned Frank Gehry to design The Vitra Design Museum, which in contrast to other museums, where furniture design is only one subject among many; it focuses principally upon its historical and future developments.
Above: The cubist assemblage of interlocking forms demonstrated in Frank Gehry's Vitra Design Museum.
Above: Displays of interior furniture of both special and permanent exhibitions within the building, shows how everything flows together.
Above: The curve structure effectively wrapping and enclosing the staircase inside the building.
The sleek design creates a prestigious image of enterprise with its technical superiority. The museum is not dependent on the Vitra Company as it covers its own budgets through exhibitions and publications of themes of furniture design as the museum hold one of the largest collections of modern furniture designs. It's one of his successful overseas projects which helped him gain international recognition.
Initial model of Vitra Design Museum
Preliminary Research
The Vitra Design Museum designed by Frank Owen Gehry began from the furniture producer, Rolf Felbaum’s wish to document the roots and history of his craft. And thus following his wish, he commissioned Frank Gehry to design The Vitra Design Museum, which in contrast to other museums, where furniture design is only one subject among many; it focuses principally upon its historical and future developments.
Under the guidance of Alexander von Vegesack, the museum was completed and opened to the public in 1989.
The museum design houses qualities of a sculpted building with its steady swirl of white forms as the exterior combined with a powerful interlocking interior. Assembled by distinct volumes of random patterns - spirals, wedges, cubes, crosses and so on, it creates a harmonious structure as a whole, for they interlock by enclosing every shape of the museum together; staircases, vaulted galleries and ceilings. These dynamic shapes allow the museum to have boundless energy all around, from exterior to interior. In addition, the museum’s sleek design creates a prestigious image of enterprise with its technical superiority - a style which has been used by Frank Gehry throughout his designs.
Above: The cubist assemblage of interlocking forms demonstrated in Frank Gehry's Vitra Design Museum.Cruciform glazed openings from the structures of the building, such as the central roof on the second floor, provide the museum with extensive natural illumination. The use of white plaster also added to the building's vibrance as well as the titanium finishes. This limitation in the choice of materials evoked the "Balancing Tools" rules.
Above: Displays of interior furniture of both special and permanent exhibitions within the building, shows how everything flows together.
Above: The curve structure effectively wrapping and enclosing the staircase inside the building.The sleek design creates a prestigious image of enterprise with its technical superiority. The museum is not dependent on the Vitra Company as it covers its own budgets through exhibitions and publications of themes of furniture design as the museum hold one of the largest collections of modern furniture designs. It's one of his successful overseas projects which helped him gain international recognition.
Above: The curve structure effectively wrapping and enclosing the staircase inside the building.
The museum is not dependent on the Vitra Company as it covers its own budgets through exhibitions and publications of themes of furniture design as the museum hold one of the largest collections of modern furniture designs. It's one of his successful overseas projects which helped him gain international recognition.
References
- Museum Architecture, Justin Henderson, Gloucester, Massachusetts, 1998.
- Frank Gehry Vitra Design Museum by Olivier Boissiere and Matrtin Filler
- http://www.design-museum.de/vitra/architektur/index.php?sid=0156492183380fbab3ebd24c3f5943f9&language=en
Individual case study - Walt Disney Concert Hall
Preliminary Research
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 enjoys one of the finest concert halls in the world, as well as an internationally recognized architectural landmark.
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 enjoys 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 1988, renowned architect Frank Gehry was selected to design the complex, whose final shape he unveiled in 1991. Construction on the Concert Hall began in November 1999.
The concert hall finished construction during spring of 2003 but there happened to be reflection problems of the building. The Founders Room and Children's Amphitheater were designed with highly polished mirror-like panels, which casted reflections and the concave shape of it amplified sunlight causing specific room temperatures to rise and complaints of residents. This was later fixed in 2005 by sanding the panels to stop strong reflections.
References:
http://www.laphil.com/about/wdch_overview.cfm
http://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall
Images:
http://en.wikipedia.org/wiki/File:Lightmatter_disneyhall5.jpg
http://www.laphil.com/about/wdch_overview.cfm
http://www.arcspace.com/architects/gehry/disney2/
Friday, September 18, 2009
Wednesday, September 2, 2009
Friday, August 28, 2009
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