M23509 Auditorium Di Roma Rom D-E.Cdr

1 2 3 AUDITORIUM PARCO DELLA MUSICA, ROME, ITALY PROJECT. In 2002, a top-class multi-purpose event center was inau- gurated in the north of Rome: the Auditorium Parco della Musica. An open air theater, the so-called “cavea“, forms its center, emulating the form and function of ancient Greek and Roman theaters. Three individual buildings are arranged in a semi-circle, housing a large auditorium for symphonic concerts, a chamber music hall as well as a multi-purpose hall for performances of chamber music, opera as well as drama. This arrangement makes it possible to utilize all three halls independently. Moreover, the event center includes numerous rehearsal rooms of different size. ACOUSTICS. In close cooperation with the architect Renzo Piano, the architectural as well as acoustic design was defined during the competition phase. The “Sala Santa Cecilia“, a large concert hall for symphony orchestras and an audience of 2,850, is the very heart of the center. Followed by the “Sala Sinopoli“, a traditional shoebox hal with 1,200 seatings, and the “Sala Petrassi“, a chamber music hall that can also be turned into an opera auditorium, a theater or lecture hall by means of mobile elements. Due to variable absorbing surfaces, 5 6 all three halls can also be used for speech. Moreover, the room acoustics can be adjusted in such a way that the halls have already become CLIENT important venues of the local film festival. Comune di Roma ARCHITECT Renzo Piano Building Workshop, Genoa PROJECT DATA Planning / construction period 1994 - 2002 Gross volume 350,000 m³ Construction costs 170 million euros SERVICES RENDERED Room acoustics, building acoustics, noise control, protection against external noise, room acoustics scale model measurements, test stand measurements, site supervision, final acceptance testing, support during the first performances 1 Facade 2 Sala Santa Cecilia 3 Sala Sinopoli 4 Sala Petrassi 5 Planimetry of the entire project 6 Large choir rehearsal room 4 Pictures: Müller-BBM 4 www.MuellerBBM.de.

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Renzo Piano Building Workshop
Renzo Piano Building Workshop Renzo Piano Antonio Belvedere Founding Partner, Chairman Partner-director In charge of the V-A-C Cultural Space, Moscow Company Profile Renzo Piano was born in Genoa in 1937 Born in 1969, Antonio Belvedere graduated into a family of builders. in architecture from the University of The Renzo Piano Building Workshop While studying at Politecnico of Milan Florence. He joined RPBW’s Paris (RPBW) is an international architectural University, he worked in the office of office in 1999, working on phase three practice with offices in Paris and Genoa. Franco Albini. of the Fiat Lingotto factory conversion In 1971, he set up the “Piano & Rogers” project, particularly on the design of the The Workshop is led by eight partner- office in London together with Richard Polytechnic and the Pinacoteca Agnelli. directors, including the founder and Pritzker Rogers, with whom he won the competition He was subsequently lead architect on Prize laureate, architect Renzo Piano, and for the Centre Pompidou. He subsequently the masterplan for Columbia University’s 3 partners. The company permanently moved to Paris. Manhattanville development in New York. employs nearly 130 people. Our 90- From the early 1970s to the 1990s, he Following promotion to Associate in 2004, plus architects are from all around the worked with the engineer Peter Rice, he worked on the masterplan for the ex- world, each selected for their experience, sharing the Atelier Piano & Rice from 1977 Falck area in Milan. enthusiasm and calibre. to 1981. He became a Partner in 2011. Recently The company’s staff has the expertise to In 1981, the “Renzo Piano Building completed projects include the Valletta City provide full architectural design services, Workshop” was established, with 150 staff Gate in Malta.
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Iceland, Scandinavia, England & Scotland
OUR 15TH ARCHITECTURE TOUR JOIN MALCOLM CARVER’S ARCHITECTURE TOUR OF ICELAND, SCANDINAVIA, ENGLAND & SCOTLAND London, Manchester, Glasgow, Reykjavik, Oslo, Aalborg & Copenhagen 4 -24 August 2018 A tour for architects and everybody that enjoys beautiful buildings ARCHITECTURE TOUR OF The tour at a glance… Three previous architecture tours to this delightful part of the world were limited ICELAND, to the work of the renowned modernist architect, Alvar Aalto in Finland. This grand tour of Scandinavia extends beyond Finland and begins in the City of London where many may wish to explore before we begin our northern hemisphere SCANDINAVIA, journey. Scandinavia has long been on our horizon particularly with enthusiastic ENGLAND & SCOTLAND encouragement from our many friends and previous eminent guests who we hope will again join another grand architectural pilgrimage. This region of the world has long shown exceptional, original leading modernist trends in architecture, art and Recent contemporary design that continues to inspire the whole world. architecture coupled with Our itinerary includes exciting and outstanding buildings with orientation tours of iconic modern buildings, by the gems in each city, providing a balance of old and new. We have also allowed outstanding award-winning free time for participants to individually enjoy particular buildings and landmarks of their choice, or time to enjoy galleries and museums and share the sheer pleasures and internationally renowned these beautiful cities traditionally have to offer. architects including Norman Foster, Renzo Piano, Jorn Utzon, Santiago Calatrava, Charles Rennie Mackintosh Daniel Libeskind, Denton, Corker Marshall, Stephen Holl and Zaha Hadid. TOUR ITINERARY DAY 7 Friday 10 August 2018 Glasgow Today begins with one of Zaha Hadid’s recent buildings before her sad DAY 1 Saturday 4 August 2018 Departure passing last year, Maggies Centre Kircaldy, then Glasgow School of Art Tour members depart Australian for London.
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The Pritzker Architecture Prize1998[1]. RENZO PIANO 2
Photo by M. Denancé Reconstruction of the Atelier Brancusi, Paris, France — 1997 Photo by C. Richters Photo by M. Denancé The Beyeler Foundation Museum Basel, Switzerland 1997 Ushibuka Bridge linking three islands of the Amakusa Archipelago, Japan — 1997 Photo by Paul Hester The Menil Collection Museum Houston, Texas — 1987 Photo by Paul Hester Drawing illustrating the roof system of “leaves” for adjusting the amount of light admitted to the galleries. Photo by Hickey Robertson The Cy Twombly Gallery at the Menil Collection Museum Houston, Texas — 1995 Photo by Hickey Robertson THE ARCHITECTURE OF RENZO PIANO — A T RIUMPH OF CONTINUING CREATIVITY BY COLIN AMERY AUTHOR AND ARCHITECTURAL CRITIC, THE FINANCIAL TIMES SPECIAL ADVISOR TO THE WORLD MONUMENTS FUND It was modern architecture itself that was honored at the White House in Washington, D.C. on June 17, 1998. The twentieth anniversary of the Pritzker Prize and the presentation of the prestigious award to Renzo Piano made for an extraordinary event. Piano’s quiet character and almost solemn, bearded appearance brought an atmosphere of serious, contemporary creativity to the glamorous event. The great gardens and the classical salons of the White House were filled with the flower of the world’s architectural talent including the majority of the laureates of the previous twenty years. But perhaps the most significant aspect of the splendid event was the opportunity it gave for an overview of the recent past of architecture at the very heart of the capital of the world’s most powerful country. It was rather as though King Louis XIV had invited all the greatest creative architects of the day to a grand dinner at Versailles.
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Renzo Piano 1998 Laureate Essay
Renzo Piano 1998 Laureate Essay The Architecture of Renzo Piano—A Triumph of Continuing Creativity By Colin Amery Author and Architectural Critic, The Financial Times Special Advisor to the World Monuments Fund It was modern architecture itself that was honored at the White House in Washington, D.C. on June 17, 1998. The twentieth anniversary of the Pritzker Prize and the presentation of the prestigious award to Renzo Piano made for an extraordinary event. Piano’s quiet character and almost solemn, bearded appearance brought an atmosphere of serious, contemporary creativity to the glamorous event. The great gardens and the classical salons of the White House were filled with the flower of the world’s architectural talent including the majority of the laureates of the previous twenty years. But perhaps the most significant aspect of the splendid event was the opportunity it gave for an overview of the recent past of architecture at the very heart of the capital of the world’s most powerful country. It was rather as though King Louis XIV had invited all the greatest creative architects of the day to a grand dinner at Versailles. In Imperial Washington the entire globe gathered to pay tribute to the very art of architecture itself. Renzo Piano was not overwhelmed by the brilliance of the occasion, on the contrary he seized his opportunity to tell the world about the nature of his work. In his own words, he firmly explained that architecture is a serious business being both art and a service. Those are perhaps two of the best words to describe Renzo Piano’s work.
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“Shall We Compete?”
5th International Conference on Competitions 2014 Delft “Shall We Compete?” Pedro Guilherme 35 5th International Conference on Competitions 2014 Delft “Shall we compete?” Author Pedro Miguel Hernandez Salvador Guilherme1 CHAIA (Centre for Art History and Artistic Research), Universidade de Évora, Portugal http://uevora.academia.edu/PedroGuilherme (+351) 962556435 [email protected] Abstract Following previous research on competitions from Portuguese architects abroad we propose to show a risomatic string of politic, economic and sociologic events that show why competitions are so much appealing. We will follow Álvaro Siza Vieira and Eduardo Souto de Moura as the former opens the first doors to competitions and the latter follows the master with renewed strength and research vigour. The European convergence provides the opportunity to develop and confirm other architects whose competences and aesthetics are internationally known and recognized. Competitions become an opportunity to other work, different scales and strategies. By 2000, the downfall of the golden initial European years makes competitions not only an opportunity but the only opportunity for young architects. From the early tentative, explorative years of Siza’s firs competitions to the current massive participation of Portuguese architects in foreign competitions there is a long, cumulative effort of competence and visibility that gives international competitions a symbolic, unquestioned value. Keywords International Architectural Competitions, Portugal, Souto de Moura, Siza Vieira, research, decision making Introduction Architects have for long been competing among themselves in competitions. They have done so because they believed competitions are worth it, despite all its negative aspects. There are immense resources allocated in competitions: human labour, time, competences, stamina, expertizes, costs, energy and materials.
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C O M P a N Y P R O F I
company profile whotectoo is a creative hub of architects whose partners’ background experience spans across many countries and continents: Europe, North America, Middle East and Far East, Australia and Africa. Our people We trust in what we do and how it is conceived selecting the right people with different attitudes, expertise and ambitions but with common qualities: trust, motivation and knowledge. 1 Tectoo is an architectural design firm established by the Architect Susanna Scarabicchi, former partner of Renzo Piano Building Workshop (RPBW). Her expertise, sensitivity and competence have been highly recognized around the world throughout the projects she led and designed over the past 30 years. She developed a commendable portfolio of projects that prompted community regeneration, sense of place and design quality. Tectoo’s cutting-edge approach is also enhanced by the expertise of Architect Andrea Peschiera, with whom Architect Scarabicchi has had a close and productive collaboration during the last five years at RPBW and who joined the firm as partner and director since the early stages, sharing the common focus on technical excellence and experimentation developed through his international experience. Tectoo is deeply rooted by architectural, environmental and social convictions for what designing for the future means. Creating something new in a world everyday more fragile requires the profound awareness that the best building concepts grow by means of a rigorous and innovative approach. Our view is that creating good architecture involves developing and implementing competencies in collaboration with an extensive network of experts from many fields and disciplines whilst engaging in a strong relationship with our clients in order to define common goals.
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Architectural Thought : the Design Process and and the Expectant
184 Drexler, Arthur (1955) The Architecture of Japan, New York Evans, Robin (1986) ‘Translations from drawing to building’, AA Files, no. 12, London Fawcett, Chris (1980) ‘Colin St J Wilson’ in Contemporary Architects, London Fletcher, B.C. (1943) A History of Architecture: On the Comparative Method, Charles Scribner’s Sons, New York, 11th edn Foster, Norman (1996) ‘Carré d’Art’ in The Architecture of Information (ed. Michael Brawne), London Gaskell, Ivan (2000) Vermeer’s Wager: Speculations on Art History, Theory & Museums, London Gideon, Sigfried (1954) Space, Time and Architecture: the growth of a new tradition, 3rd edition, Oxford University Press, London Gimpel, Jean (1993) The Cathedral Builders (translated from the French by Michael Russell), London Girouard, Mark (1998) Big Jim: the Life & Work of James Stirling, London Gombrich, E.H. (1960/77) Art and Illusion, Oxford Hays, K. Michael (ed.) (2000) Architecture Theory Since 1968, Cambridge, Mass Isaacs, Jeremy (2000) ‘Wunderkind’ in The Royal Academy Magazine, no. 68, Autumn, London Johnson, Eugene V. & Lewis, Michael J. (1996) The Travel Sketches of Louis I. Kahn, Cambridge, Mass Johnson, N.E. (1975) ‘Light is the Theme’, Fort Worth, Texas Kruft, Hanno-Walter (1994) A History of Architectural Theory from Vitruvius to the Present, London Latour, Alessandra (1991) Louis I. Kahn: writings, lectures & interviews, New York LeCuyer, Annette (1997) ‘Building Bilbao’ in Architectural Review, December Leiviskä, Juha (1999) Juha Leiviskä, Helsinki Libeskind, Daniel (1992) ‘Between the Lines’ in Extension to the 185 Berlin Museum with Jewish Museum Department (ed. Kristin Feireiss), exhibition catalogue, Berlin McLaughlin, Patricia (1991) ‘How am I doing, Corbusier’ in Louis I.
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Vision for M+ Herzog & De Meuron Start Each Project Free Of
Herzog & de Meuron + TFP Farrells Vision for M+ Herzog & de Meuron start each project free of M+ shall be much more than an individual building, but predetermined ideas, guided by curiosity and conscious instead like a small city with entrance gates, gathering naivety. Developed through rational methodologies and places, main avenues and side streets. Movement, of open dialogue, we design projects that respond to the people and objects, shall be conceived horizontally and needs of users and are meaningful to their context. vertically, like Hong Kong itself, to achieve openness and accessibility. M+ has the opportunity and responsibility to lead the architecture and atmosphere of the West Kowloon As a shared platform for the local and global to meet, M+ Cultural District in its development. M+ shall address shall both grow out of and nourish the evolving cultural all of its neighbours with equal consideration whether it community of Hong Kong and include a large distribution be sea or land, city or park, underground or sky, tunnel of education spaces that encourage direct and spontaneous or tower. The responses to each internal and external learning. condition will ultimately shape M+ into its final form. The ability to choose and create one’s own experience We imagine a variety of exhibition possibilities – both could be a key factor that differentiates M+ from previous inside and outdoors – that provide the very specific and incarnations of the big museum, and leads it to become the very flexible by offering a range of spaces and uses not only a global centre of culture, but a common space in that embrace difference and individuality, rather than Hong Kong to generate new perceptions, new phenomena repetition or one-size-fits-all universality.
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Introduction to Modern Literature David Spurr, Fall 2020 11 Nov
Introduction to Modern Literature David Spurr, Fall 2020 11 Nov. Architectural form and representation: Some principles American beginnings of modernism: The Chicago School Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896 https://ocw.mit.edu/courses/architecture/4-205-analysis-of-contemporary- architecture-fall-2009/readings/MIT4_205F09_Sullivan.pdf 18 Nov. Organic architecture: Frank Lloyd Wright Wright, “In the Cause of Architecture,” 1908 https://www.architecturalrecord.com/ext/resources/news/2016/01- Jan/InTheCause/Frank-Lloyd-Wright-In-the-Cause-of-Architecture-March- 1908.pdf “Frank Lloyd Wright: American Architect,” Museum of Modern Art, 1940: https://www.moma.org/calendar/exhibitions/2992 Architectural Forum, special issue on Wright, January 1938: https://usmodernist.org/AF/AF-1938-01.pdf 25 Nov. European beginnings of modernism: Walter Gropius Gropius, “Bauhaus Manifesto and Programme,” 1919 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropBau19.p df Gropius, “Principles of Bauhaus Production,” 1926 http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropPrdctn.p df Gropius, ”The Theory and Organization of the Bauhaus,” 1923, in Herbert Bayer, Bauhaus 1919-1928, Museum of Modern Art: https://www.moma.org/documents/moma_catalogue_2735_300190238.pdf De Stijl: Gerrit Rietveld Theo van Doesburg, First De Stijl Manifesto, 1918 https://www.readingdesign.org/de-stijl-manifesto Rietveld, “The New Functionalism in Dutch Architecture,“ 1932 https://modernistarchitecture.wordpress.com/2010/10/20/gerrit-rietveld- %E2%80%9Cnew-functionalism-in-dutch-architecture%E2%80%9D-1932/ Machines for Living: Le Corbusier Le Corbusier, “Five Points Towards a New Architecture,” 1926 https://www.spaceintime.eu/docs/corbusier_five_points_toward_new_archit ecture.pdf Le Corbusier, “Towards a New Architecture,” 1927 https://archive.org/details/TowardsANewArchitectureCorbusierLe/page/n91/ mode/2up E1027: Eileen Gray Joseph Rykwert, “Eileen Gray, Design Pioneer,” 1968.
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Towards the Performative Architecture Through the Tectonic Vision
International Scientific Journal Architecture and Engineering http://architecture.scientific-journal.com Towards the performative architecture through the tectonic vision. Mafalda Fabiene Ferreira Pantoja Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Pedro da Luz Moreira Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Louise Land Bittencourt Lomardo Architecture and Urbanism Department Fluminense Federal University - UFF Rio de Janeiro, Brazil [email protected] Abstract— The purpose of this paper is to discuss questions that the challenges of the commercialization of architecture and indicate a direction for a good life in contemporary cities and a urban planning in order to pursuit a performative architecture. new action by architects and planners, promoting the concept of performative architecture through the tectonic vision. Tectonics, Keywords: tectonics; contemporary architecture, performative often known as the “construction art”, cannot be defined as a sole architecture. matter. In this work will be applied the concept`s definition capable to join the material aspects of architecture with the I. INTRODUCTION cultural aspects where it is inserted, aiming to provide examples that cover the precepts of performative architecture. The Tectonics, often known as the construction art, cannot be contemporary landscape is highly diversified due to the defined as a sole matter. In this document will be applied the unrestrained growth of big centers, also urban and architectural concept´s definition capable to join the architecture material spaces of diverse use need specific solutions for the new demands. aspects with the cultural and aesthetic aspects where it is The building performance is relevant for architectural and inserted.
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The Incredible Lightness of Being Renzo Piano
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Heydar Aliyev Center: Zaha Hadid’S Most Radical Creation Yet STAVROS NIARCHOS FOUNDATION CULTURAL CENTER by BRIAN LIBBY Athens Rebirth
Concert Halls • Theaters • Opera Houses • Convention Centers • Cinemas • Arenas Auditoria 21 Annual 2015 Concert Halls • Theaters • Opera Houses • Convention Centers • Cinemas • Arenas Inside: Culture injection: Dr Phillips Center for the Performing Arts Greek revival: Stavros Niarchos Foundation Cultural Center Arts funding: The quest for alternative financing models Las Vegas Arena: Sin City’s next entertainment mecca Published by UKIP Media & Events Ltd Baku masterpiece Heydar Aliyev Center: Zaha Hadid’s most radical creation yet STAVROS NIARCHOS FOUNDATION CULTURAL CENTER BY BRIAN LIBBY Athens rebirth 14 AUDITORIA ANNUAL 2015 STAVROS NIARCHOS FOUNDATION CULTURAL CENTER The Stavros Niarchos Foundation Cultural Center is set to revitalize an economically beleaguered Greece with a landmark cultural attraction and innovative public spaces n recent years, Greece has been more Long time coming battered by recession than any other The project had a long gestation, dating back country in Europe. Now, as this proud to the foundation’s original 1998 commitment and culturally rich Mediterranean to support construction of a new National nation begins to recover and rebuild, Library. During that time, national and world Ione of its most important philanthropic economies have boomed, busted and boomed organizations is at work building a symbol of again. “The foundation put a lot of thought the new, resilient, ambitious Greece. The Stavros and time into doing it right, in terms of many Niarchos Foundation, founded in 1996 from studies,” Andriopoulou says. “We had to look the pockets of the shipbuilding magnate whose at the business as well as the technical side.” name it bears, has partnered with the national The Greek National Opera only needed the government to create a new combined home larger auditorium, but including the additional for the Greek National Opera and the National smaller theater “allows the facility to bring lots Library of Greece.
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