V-RAY IMAGE FOR the Vitra Design Museum
2009年9月24日星期四
3D basic model of the Vitra Design Museum(draft)
ground work
WEEK 9 STUDIO base model
Level 1
Group members:Lin Huang.Ryan Teng.Yichao Xue.Keyang Xia
Group Research on Vitra Design Museum
Group Research on Vitra Design Museum
The Vitra design museum is internationally reowned, privately owned museum for design in Weil am Rhein, Germany. The museum's collection, focusing on furniture and interior design, is centered around the bequest of U.S. designers Charles and Ray Eames, as well as numerous works of designers such as George Nelson, Alvar Aalto, Verner Panton, Dieter Rams, Jean Prouve, Richard Hutten and Michael Thonet. It is one of the world's largest collections of modern furniture design, including pieces representative of all major periods of styles from the beginning of the nineteenth century onwards.These works, originally the provate collection of Rolf Fehlbaum, are now not permanently on display, with the exception of representative selection of designer chairs that can be seen in Zaha Hadid's fire station on the Vitra premises. Instead, the museum puts on temporary collections focused on one particular desginer, often with loans from other collections. In turn, parts of the ocllection are lent to other institutions around the world.In addition, the museum produces workshops, publications and museum products, as well as maintaining an archive, a restoration and conservation laboratory, and a research library. It also organises guided tours of the Vitra premises, a major attration to those interested in modern architecture.The museum building, an architectural attraction in its own right, was Frank O. Gehry's first building in Europe, realised in cooperation with the Lorrach architect Gunter 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 did not opt for his usual mix of materials, but limited himself to white plaster and titanium-zinc alloy. For the first time, he allowed curved forms to break up his more usual angular shapes. The sloping white forms appear to echo the Notre Dame du Haut chapel by Le Corbusier in Ronchamp, France, not far from Weil.
Architecture critic Paul Heyer described the general impression on the visitor as"... a continuous changing swirl of white forms on the exterior, each seemingly withour 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..."Vitra, the furniture company, have turned to a variety of major architects to design the buildings making up their manufacturing site near Basel, close to the German/Swiss/French border. As well as Frank Gehry, Alvaro Siza, Nicholas Grimshaw, Tadao Ando and Zaha Hadid are all represented, in a cross between an industrial plant and a model village.
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.
Even though there is certainly no lack of significant contemporary buildings in the Basle region: for some years now, the biggest draw and place with the most far-reaching international presence has been the premises of the Vitra company's factory in Weil am Rhein. This is not solely due to the illustrious architects like Frank O. Gehry, Tadao Ando, Zaha Hadid, Nicholas Grimshaw and Alvaro Siza who have all realised significant designs here at the invitation of company head Rolf Fehlbaum. It is primarily because of the unique density and quality of the buildings assembled here in such a compact space. No wonder, then, that the company grounds have emerged as a Mecca for architecture lovers from all over the world in the past one and a half decades. To accommodate the extensive public interest in the buildings on the Vitra site, the Vitra Design Museum offers regular guided architectural tours in numerous languages.The starting point for the tour is Gehry's sculptural-expressionistic museum building, completed in 1989 - the first of the California architect's buildings to be realised in Europe. The Conference Pavilion by Japan's Tadao Ando was also a European premiere. The introverted structure is visually impressive with its formal restraint and reduction to a few materials. Along with the museum and Conference Pavilion, the Fire Station by London-based Zaha Hadid is one of the highlights of the tour. Long an icon of deconstructivist architecture, this was the first work ever to be realised by the master architect who is today entrusted with prestigious major commissions throughout the world.A provisional capstone in the architectural development of the grounds was set by the Portuguese architect Alvaro Siza with the puristic seeming brick-clad Production Hall he connected to the neighbouring hall with a bridge-like roof construction. In past years, the architecture park in Weil has been enriched with two treasures from the history of building: a dome-shaped tent construction from the American architectural visionary Buckminster Fuller and a small knock-down petrol station by the French constructeur Jean Prouvé, which are likewise covered in the architectural tour.
Frank Gehry: "I love the shaping I can do when I'm sketching. And it never... occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra... in Germany."
Vitra Design Museum Commentary
"Using a palette of strongly architectonic forms, the formative ideas explored in his own house were further developed at a comprehensive urban scale in his design for the Loyola Law School....The result was large-scale disparate elements dexterously juxtaposed—thrust inward or conversely pushing outward—against buildings and urban sculptural elements that themselves were formally not reconciled in a traditional sense. It further evidenced Gehry's interest in the discreet interlock of disparate forms which, through collision and seeming disorder, somehow combine to create a presence in resolution—probably the basic reason why Cubism and Expressionism is so obviously his connection to Modernism.
"This is readily apparent in his Vitra Design Museum, a small, 8,000-square-foot building on two floors basically for the exhibit of chairs, design, and educational programs. The building is 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 in much the same way that Gehry's 1990 proposal for the American Center in Paris will likewise bring the disparate functional and spatial demands...into a more centralized though again a visually discordant, volumetric totality..."
— from Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p233-234.
References:
http://www.archdig.com/worldfamousarch/architecture/200903/worldfamousarch_112309.html
http://www.canadianconsultingengineer.com/common_scripts/xtq_images/135715-93716.jpg
http://www.cityofsound.com/blog/images/gugg1.jpg
http://www.detnk.com/files/node_images/161e252e902cc5b9.jpg
al co, Francesco. Frank Gehry: The Complete Works. Phaidon Press. 2003.http://www.design-museum.de/museum/weil/fuehrung/index.php?sid=63e1d9668405a5113ddde1aaa9281909
http://en.wikipedia.org/wiki/Vitra_Design _Museum
http://www.design-museum.de/architektur/index.php?sid=bea891fe0d95977c5c00a84e26dc3279&language=en
The Vitra design museum is internationally reowned, privately owned museum for design in Weil am Rhein, Germany. The museum's collection, focusing on furniture and interior design, is centered around the bequest of U.S. designers Charles and Ray Eames, as well as numerous works of designers such as George Nelson, Alvar Aalto, Verner Panton, Dieter Rams, Jean Prouve, Richard Hutten and Michael Thonet. It is one of the world's largest collections of modern furniture design, including pieces representative of all major periods of styles from the beginning of the nineteenth century onwards.These works, originally the provate collection of Rolf Fehlbaum, are now not permanently on display, with the exception of representative selection of designer chairs that can be seen in Zaha Hadid's fire station on the Vitra premises. Instead, the museum puts on temporary collections focused on one particular desginer, often with loans from other collections. In turn, parts of the ocllection are lent to other institutions around the world.In addition, the museum produces workshops, publications and museum products, as well as maintaining an archive, a restoration and conservation laboratory, and a research library. It also organises guided tours of the Vitra premises, a major attration to those interested in modern architecture.The museum building, an architectural attraction in its own right, was Frank O. Gehry's first building in Europe, realised in cooperation with the Lorrach architect Gunter 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 did not opt for his usual mix of materials, but limited himself to white plaster and titanium-zinc alloy. For the first time, he allowed curved forms to break up his more usual angular shapes. The sloping white forms appear to echo the Notre Dame du Haut chapel by Le Corbusier in Ronchamp, France, not far from Weil.
Architecture critic Paul Heyer described the general impression on the visitor as"... a continuous changing swirl of white forms on the exterior, each seemingly withour 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..."Vitra, the furniture company, have turned to a variety of major architects to design the buildings making up their manufacturing site near Basel, close to the German/Swiss/French border. As well as Frank Gehry, Alvaro Siza, Nicholas Grimshaw, Tadao Ando and Zaha Hadid are all represented, in a cross between an industrial plant and a model village.
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.
Even though there is certainly no lack of significant contemporary buildings in the Basle region: for some years now, the biggest draw and place with the most far-reaching international presence has been the premises of the Vitra company's factory in Weil am Rhein. This is not solely due to the illustrious architects like Frank O. Gehry, Tadao Ando, Zaha Hadid, Nicholas Grimshaw and Alvaro Siza who have all realised significant designs here at the invitation of company head Rolf Fehlbaum. It is primarily because of the unique density and quality of the buildings assembled here in such a compact space. No wonder, then, that the company grounds have emerged as a Mecca for architecture lovers from all over the world in the past one and a half decades. To accommodate the extensive public interest in the buildings on the Vitra site, the Vitra Design Museum offers regular guided architectural tours in numerous languages.The starting point for the tour is Gehry's sculptural-expressionistic museum building, completed in 1989 - the first of the California architect's buildings to be realised in Europe. The Conference Pavilion by Japan's Tadao Ando was also a European premiere. The introverted structure is visually impressive with its formal restraint and reduction to a few materials. Along with the museum and Conference Pavilion, the Fire Station by London-based Zaha Hadid is one of the highlights of the tour. Long an icon of deconstructivist architecture, this was the first work ever to be realised by the master architect who is today entrusted with prestigious major commissions throughout the world.A provisional capstone in the architectural development of the grounds was set by the Portuguese architect Alvaro Siza with the puristic seeming brick-clad Production Hall he connected to the neighbouring hall with a bridge-like roof construction. In past years, the architecture park in Weil has been enriched with two treasures from the history of building: a dome-shaped tent construction from the American architectural visionary Buckminster Fuller and a small knock-down petrol station by the French constructeur Jean Prouvé, which are likewise covered in the architectural tour.
Frank Gehry: "I love the shaping I can do when I'm sketching. And it never... occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra... in Germany."
Vitra Design Museum Commentary
"Using a palette of strongly architectonic forms, the formative ideas explored in his own house were further developed at a comprehensive urban scale in his design for the Loyola Law School....The result was large-scale disparate elements dexterously juxtaposed—thrust inward or conversely pushing outward—against buildings and urban sculptural elements that themselves were formally not reconciled in a traditional sense. It further evidenced Gehry's interest in the discreet interlock of disparate forms which, through collision and seeming disorder, somehow combine to create a presence in resolution—probably the basic reason why Cubism and Expressionism is so obviously his connection to Modernism.
"This is readily apparent in his Vitra Design Museum, a small, 8,000-square-foot building on two floors basically for the exhibit of chairs, design, and educational programs. The building is 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 in much the same way that Gehry's 1990 proposal for the American Center in Paris will likewise bring the disparate functional and spatial demands...into a more centralized though again a visually discordant, volumetric totality..."
— from Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p233-234.
References:
http://www.archdig.com/worldfamousarch/architecture/200903/worldfamousarch_112309.html
http://www.canadianconsultingengineer.com/common_scripts/xtq_images/135715-93716.jpg
http://www.cityofsound.com/blog/images/gugg1.jpg
http://www.detnk.com/files/node_images/161e252e902cc5b9.jpg
al co, Francesco. Frank Gehry: The Complete Works. Phaidon Press. 2003.http://www.design-museum.de/museum/weil/fuehrung/index.php?sid=63e1d9668405a5113ddde1aaa9281909
http://en.wikipedia.org/wiki/Vitra_Design _Museum
http://www.design-museum.de/architektur/index.php?sid=bea891fe0d95977c5c00a84e26dc3279&language=en
2009年9月23日星期三
Building Case Study-The Nationale-Nederlanden Building(Dancing House)
Dancing House Model
The site of Gehry's Dancing House was originally occupied by a house in the Neo-renaissance style from the end of the 19th century. That house was destroyed during bombing in 1945, its remains finally removed in 1960. The neighboring house was co-owned by Czech ex-president Vaclav Havel, who lived there from his childhood until the mid-1990s. He asked Frank Gehry to build a house there and Gehry, funded by the Dutch bank ING, accepted the challenge. Gehry had an almost unlimited budget, because ING wanted to create an icon in Prague. The construction started in 1994 and the house was finished in 1996.This building was very controversial at its inception. Not only did it standout stylistically, but it was asymmetrical and to many, it was glaringly out of character to its more traditional setting. The building is an example of deconstructivist architecture, with an unusual shape. It reflects a woman and man dancing together. Construction is from 99 concrete panels each of different shape and dimension, each therefore requiring a unique wooden form. The design tools and techniques used on this building were the test runs for the processes used on all of Gehry's future projects including the Guggenheim Museum in Bilbao as well as others. The use of curves on the building mimics the aerodynamic shape of airplanes and sports cars; the software that his firm has refined was previously used to design French jet aircraft. The materials used here are malleable and unexpected materials that often shimmer, reflect and even sparkle such as corrugated as well as stainless steel, polished aluminium, chain link fencing and wood along with various transparencies and tints of glass.
References:
http://www.galinsky.com/buildings/dancinghouse/index.htm
http://www.berkshirefinearts.com/?page=article&article_id=1095&catID=26
http://www.e-architekt.cz/workshop04
Frank O. GehrySketches
Dancing House oil painting
structure
The site of Gehry's Dancing House was originally occupied by a house in the Neo-renaissance style from the end of the 19th century. That house was destroyed during bombing in 1945, its remains finally removed in 1960. The neighboring house was co-owned by Czech ex-president Vaclav Havel, who lived there from his childhood until the mid-1990s. He asked Frank Gehry to build a house there and Gehry, funded by the Dutch bank ING, accepted the challenge. Gehry had an almost unlimited budget, because ING wanted to create an icon in Prague. The construction started in 1994 and the house was finished in 1996.This building was very controversial at its inception. Not only did it standout stylistically, but it was asymmetrical and to many, it was glaringly out of character to its more traditional setting. The building is an example of deconstructivist architecture, with an unusual shape. It reflects a woman and man dancing together. Construction is from 99 concrete panels each of different shape and dimension, each therefore requiring a unique wooden form. The design tools and techniques used on this building were the test runs for the processes used on all of Gehry's future projects including the Guggenheim Museum in Bilbao as well as others. The use of curves on the building mimics the aerodynamic shape of airplanes and sports cars; the software that his firm has refined was previously used to design French jet aircraft. The materials used here are malleable and unexpected materials that often shimmer, reflect and even sparkle such as corrugated as well as stainless steel, polished aluminium, chain link fencing and wood along with various transparencies and tints of glass.
References:
http://www.galinsky.com/buildings/dancinghouse/index.htm
http://www.berkshirefinearts.com/?page=article&article_id=1095&catID=26
http://www.e-architekt.cz/workshop04
http://antiquesandthearts.com/Archives/2008/11-November/images//2008-11-25__14-49-53Image2.GIF
http://commons.wikimedia.org/wiki/File:Prague_-_Dancing_House.jpg
http://www.iurro.com/
http://www.arcspace.com/studio/gehry/07.html
http://commons.wikimedia.org/wiki/File:PG07ME957.jpg
-----------------------------------------------------
Frank Owen Gehry loves to break traditional architectural orders and bring revolutionary elements to the design. His grandfather used to work in a hardware store, so Frank was familiar with those metallic products when he was a child. I guess that was the reason why he was so fond of using iron and steel in his architectural design pieces.
Among all his charming designs, my favourite piece is the Dancing House. The soft lines give a special interpretation of modern romance, which significantly differs from the traditional style European city.The Dancing House has new Gothic styled buildings surrounding, and this creates a great visual impact.
The Dancing House was awarded as the best designed architecture by the famous TIME magazine in 1996. The original name of the Dancing House was "Ginger and Fred" named after two well-known couple dancers called Fred Astaire and Ginger Rogers in Hollywood. Then why is it then called the Dancing House? The reason is simply because the Dancing House looks like a dancing couple.
http://commons.wikimedia.org/wiki/File:Prague_-_Dancing_House.jpg
http://www.iurro.com/
http://www.arcspace.com/studio/gehry/07.html
http://commons.wikimedia.org/wiki/File:PG07ME957.jpg
-----------------------------------------------------
Frank Owen Gehry loves to break traditional architectural orders and bring revolutionary elements to the design. His grandfather used to work in a hardware store, so Frank was familiar with those metallic products when he was a child. I guess that was the reason why he was so fond of using iron and steel in his architectural design pieces.
Among all his charming designs, my favourite piece is the Dancing House. The soft lines give a special interpretation of modern romance, which significantly differs from the traditional style European city.The Dancing House has new Gothic styled buildings surrounding, and this creates a great visual impact.
The Dancing House was awarded as the best designed architecture by the famous TIME magazine in 1996. The original name of the Dancing House was "Ginger and Fred" named after two well-known couple dancers called Fred Astaire and Ginger Rogers in Hollywood. Then why is it then called the Dancing House? The reason is simply because the Dancing House looks like a dancing couple.
2009年9月17日星期四
2009年9月4日星期五
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