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Wie erreiche ich den Vitra Campus? A5 Karlsruhe / A5 Freiburg Ausfahrt / Exit / Sortie A35 B3 Weil am A35 Strassburg / Strasbourg Rhein Euro E35 Airport Ausfahrt / Exit / Sortie Rö Basel Mulhouse / Freiburg me rstras se Vitra Campus Müllheimer Str. Bahnhof / Zentrum Train station / Centre Gare / Centre Badischer Bahnhof Claraplatz 55 Rhein / Rhine / Rhin Basel / Bâle Zug / Train Tram Bus Fussweg / Footpath / A2/A3 Chemin pédestre 8 2 Landesgrenze / A2 Bern / Berne National border / Bahnhof SBB A3 Zürich / Zurich Frontière nationale Mit den öffentlichen Verkehrsmitteln Euroairport Basel/Mulhouse Kontakt & Bus Linie 50 bis Bahnhof Basel SBB (Fahrtzeit ca. 15 Minuten), Öffnungszeiten von Basel Badischer Bahnhof umsteigen in Tram Linie 8 bis Haltestelle „Weil am Rhein Bus Linie 55 bis Haltestelle „Vitra“ (Fahrtzeit ca. 15 Minuten) Bahnhof/Zentrum“, von dort zu Fuss der Beschilderung Vitra Vitra Campus oder mit der Deutschen Bahn nach Weil am Rhein (eine Campus entlang Müllheimer Str. folgen (Dauer ca. 15 Minuten, Charles-Eames-Str. 2 Haltestelle, Fahrzeit ca. 5 Minuten), von dort zu Fuss der Entfernung ca. 1 km) D-79576 Weil am Rhein Beschilderung Vitra Campus entlang Müllheimer Str. folgen +49 (0)7621 702 3500 (Dauer ca. 15 Minuten, Entfernung ca. 1 km) [email protected] Mit dem PKW www.vitra.com/campus von Bahnhof Basel SBB, Barfüsserplatz, Claraplatz, Kleinhüningen aus Deutschland Mo-So 10-18 Uhr Tram Linie 8 bis Haltestelle „Weil am Rhein Bahnhof/Zentrum“, Autobahn A5 Karlsruhe-Basel, Ausfahrt 69 Weil am Rhein, links 24. Dezember 10-14 Uhr von dort zu Fuss der Beschilderung Vitra Campus entlang abbiegen, Beschilderung Vitra Design Museum folgen Müllheimer Str. folgen (Dauer ca. 15 Minuten, Entfernung ca. 1 km) aus der Schweiz von Bahnhof Weil am Rhein Autobahn A5 Basel-Karlsruhe, Ausfahrt 69 Weil am Rhein, links Zu Fuss der Beschilderung Vitra Campus entlang Müllheimer abbiegen, Beschilderung Vitra Design Museum folgen Str. folgen (Dauer ca. 15 Minuten, Entfernung ca. 1 km) aus Frankreich Aus Richtung Strassburg über den Grenzübergang Palmrain (D), E 35 bis Vitra Campus v.

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The Abuse of Architectonics by Decorating in an Era After Deconstructivism
THE ABUSE OF ARCHITECTONICS BY DECORATING IN AN ERA AFTER DECONSTRUCTIVISM DECONSTRUCTION OF THE TECTONIC STRUCTURE AS A WAY OF DECORATION PIM GERRITSEN | 1186272 MSC3 | INTERIORS, BUILDINGS, CITIES | STUDIO BACK TO SCHOOL AR0830 ARCHITECTURE THEORY | ARCHITECTURAL THINKING | GRADUATION THESIS FALL SEMESTER 2008-2009 | MARCH 09 THESIS | ARCHITECTURAL THINKING | AR0830 | PIM GERRITSEN | 1186272 | MAR-09 | P. 1 ‘In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.’ 1 Eugène-Emmanuel Viollet-le-Duc (1872) Lectures Everything depends upon how one sets it to work… little by little we modify the terrain of our work and thereby produce new configurations… it is essential, systematic, and theoretical. And this in no way minimizes the necessity and relative importance of certain breaks of appearance and definition of new structures…’ 2 Jacques Derrida (1972) Positions ‘It is ironic that the work of Coop Himmelblau, and of other deconstructive architects, often turns out to demand far more structural ingenuity than works developed with a ‘rational’ approach to structure.’ 3 Adrian Forty (2000) Words and Buildings Theme In recent work of architects known as deconstructivists the tectonic structure of the buildings seems to be ‘deconstructed’ in order to decorate the building’s image. In other words: nowadays deconstruction has become a style with the architectonic structure used as decoration. Is the show of architectonic elements in recent work of
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Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh.
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Frank Gehry Biography
G A G O S I A N Frank Gehry Biography Born in 1929 in Toronto, Canada. Lives and works in Los Angeles, CA. Education: 1954 B.A., University of Southern California, Los Angeles, CA. 1956 M.A., Harvard University, Cambridge, MA. Select Solo Exhibitions: 2021 Spinning Tales. Gagosian, Beverly Hills, CA. 2016 Fish Lamps. Gagosian Gallery, Rome, Italy. Building in Paris. Espace Louis Vuitton Venezia, Venice, Italy. 2015 Architect Frank Gehry: “I Have an Idea.” 21_21 Design Sight, Tokyo, Japan. 2015 Frank Gehry. LACMA, Los Angeles, CA. 2014 Frank Gehry. Centre Pompidou, Paris, France. Voyage of Creation. Louis Vuitton Foundation, Paris, France. Fish Lamps. Gagosian Gallery, Athens, Greece. Fish Lamps. Gagosian Gallery, Hong Kong, China. 2013 Fish Lamps. Gagosian Gallery, Davies Street, London, England. Frank Gehry At Work. Leslie Feely Fine Art. New York, NY. Fish Lamps. Gagosian Gallery, Paris Project Space, Paris, France. Frank Gehry at Gemini: New Sculpture & Prints, with a Survey of Past Projects. Gemini G.E.L. at Joni Moisant Weyl, New York, NY. Fish Lamps. Gagosian Gallery, Beverly Hills, CA. 2011 Frank Gehry: Outside The Box. Artistree, Hong Kong, China. 2010 Frank O. Gehry since 1997. Vitra Design Museum, Rhein, Germany. Frank Gehry: Eleven New Prints. Gemini G.E.L. at Joni Moisant Weyl, New York, NY. 2008 Frank Gehry: Process Models and Drawings. Leslie Feely Fine Art, New York, NY. 2006 Frank Gehry: Art + Architecture. Art Gallery of Ontario, Toronto, Canada. 2003 Frank Gehry, Architect: Designs for Museums. Weisman Art Museum, Minneapolis, MN. Traveled to Corcoran Art Gallery, Washington, D.C. 2001 Frank Gehry, Architect.
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https://doi.org/10.5392/JKCA.2021.21.03.088 박물관의 비정형 건축형태와 중심공간과의 상관성에 관한 연구 A Study on Correlation between Atypical Architecture Classification and Main Public Space of the Museums 박상준 신라대학교 실내건축디자인전공 Sang-Jun Park([email protected]) 요약 본 연구는 박물관 건축의 작품 중 특별 전시의 기능을 제외한 상설전시가 주를 이루는 박물관을 중심으로 하였다. 사례연구를 통해 나타난 정형, 비정형, 세그먼트, 사선형의 형태를 기준으로 하여, 164건의 작품사례 에 적용한 결과 건축형태를 비정형, 정형, 반정형, 세그먼트, 사선형, 선형으로 재분류 하고, 박물관 건축 형태 와 중심 공간과의 상관성의 유무를 유추함으로써 비정형 건축형태와 중심공간과의 관계가 성립하는가를 도출 하고자 다음과 같이 내용을 정리하였다. 전체적으로 대부분 비정형박물관건축형태와 일치하는 중심공간의 비 정형 형태로서 92.7% 분포도를 나타났다. 결과적으로 전반적으로 박물관 비정형 건축형태가 다수 나타났으며 정형보다는 비정형 건축형태에 있어서 중심공간과의 상관성이 성립되는 것으로서 향후 박물관 건축형태는 비 정형이 지속적으로 발전 할 것으로 추정되고 중심 공간 실내건축 설계는 건축형태와의 상관성을 고려하여 설 계를 지향하는 기초적 근거자료로서 제시하고자 한다. ■ 중심어 :∣박물관∣비정형∣건축형태∣상관성∣중심 공간∣ Abstract This study focused on the museums mainly holding permanent exhibitions except for the function of special exhibition in museum architectural works. This study aimed to draw the possibility to establish the relation between architectural form and central space of museums, by applying the forms like formal form, informal form, segment form, and diagonal form shown through a case study to total 164 work cases, reclassifying the architectural form into informal form, formal form, semi-formal form, segment form, diagonal form, and linear form, and then analogizing the matter of correlation between architectural form and central space of museums.
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Edwin Chan Architect
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Wie Erreiche Ich Den Vitra Campus?
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• Architettura E Urbanistica • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
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Presentazione Standard Di Powerpoint
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