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The Fondation Louis Vuitton
THE FONDATION LOUIS VUITTON A new ambition for LVMH's corporate patronage Created by the LVMH group and its Maisons in 2006 on the initiative of Bernard Arnault, the Fondation Louis Vuitton forms part of the art and culture patronage programme developed by the group for over twenty years. It also marks a new step driven by a renewed ambition: – A lasting commitment with the desire to become firmly rooted in a particular place and bring an institution to life over the long term. – A major philanthropic gesture towards the city of Paris with the construction of an exceptional building on municipal state property and the signature of a 55-year occupancy agreement with Paris city council. Driven by a desire to work for the common good, the Fondation Louis Vuitton demonstrates a clear commitment to contemporary art and looks to make it accessible to as many people as possible. To foster the creation of contemporary art on a national and international scale, the Fondation Louis Vuitton calls on a permanent collection, commissions from artists, temporary modern and contemporary art exhibitions and multidisciplinary events. One of its priorities is to fulfil an educational role, especially among the young. A new monument for Paris Frank Gehry has designed a building that, through its strength and singularity, represents the first artistic step on the part of the Fondation Louis Vuitton. This large vessel covered in twelve glass sails, situated in the Bois de Boulogne, on the edge of avenue du Mahatma Gandhi, is attached to the Jardin d'Acclimatation. Set on a water garden created for the occasion, the building blends into the natural environment, amidst the wood and the garden, playing with light and mirror effects. -
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 -
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. -
Anfahrt DE.Pdf
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. -
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. -
박물관의 비정형 건축형태와 중심공간과의 상관성에 관한 연구 a Study on Correlation Between Atypical Architecture Classification and Main Public Space of the Museums
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. -
Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1
Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, -
Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018
Vitra Design Museum Charles-Eames-Straße 2 79576 Weil am Rhein/Basel Germany www.design-museum.de PRESS CONFERENCE 15 March 2018, 2 pm OPENING 16 MARCH 2018, 6 pm Opening Talk with Ben Kelly, Peter Saville, and Konstantin Grcic PRESS DOWNLOADS www.design-museum.de/press_images Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018 The nightclub is one of the most important design spaces in contemporary culture. Since the 1960s, nightclubs have been epicentres of pop culture, distinct spaces of nocturnal leisure providing architects and designers all over the world with opportunities and inspiration. »Night Fever. Designing Club Culture 1960 – Today« offers the first large-scale examination of the relationship between club culture and design, from past to present. The exhibition presents nightclubs as spaces that merge architecture and interior design with sound, light, fashion, graphics, and visual effects to create a modern Gesamtkunstwerk. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Haçienda in Manchester designed by Ben Kelly to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. The exhibits on display range from films and vintage photographs to posters, flyers, and fashion, but also include contemporary works by photographers and artists such as Mark Leckey, Chen Wei, and Musa N. Nxumalo. A spatial installation with music and light effects takes visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends. -
Wie Erreiche Ich Den Vitra Campus?
Wie erreiche ich den Vitra Campus? A 5 Bahnhof Haltingen A 5 Karlsruhe / B3 Freiburg Rehberger-Weg A 35 A 35 Strassburg EuroAirport Basel Mulhouse Freiburg E35 Ausfahrt Bus 55 Weil am Rhein Ausfahrt Verner-Panton-Weg Bus 50 Mulhouse / D 105 Römerstr. Freiburg Müllheimerstr. DE Vitra Campus FR Weil am Rhein Bahnhof / Zentrum CH Freiburgerstr. Ausfahrt Eingang Karlsruhe (D) Nord Bus 55 Römerstr. Müllheimerstr. Badischer Bahnhof Tram 8 Eingang Süd Bus 55 Clara- Zug platz Tram Bus Rad-/Fussweg Rhein Landesgrenze Weil am Rhein Basel Bahnhof / Zentrum Tram 8 Tram 2 Zug Bahnhof SBB A2 / A3 A2 Bern / A3 Zürich Mit den öffentlichen Verkehrsmitteln Mit dem PKW Ab Basel Badischer Bahnhof: Bus Linie 55 bis Haltestelle „Vitra“ (Fahrtzeit ca. Aus Deutschland: Autobahn A5 Karlsruhe-Basel, Ausfahrt 69 Weil am Rhein, 15 Min.) oder mit der Deutschen Bahn nach Weil am Rhein (eine Haltestelle, links abbiegen, Beschilderung Vitra Design Museum folgen Fahrzeit ca. 5 Min.), von dort zu Fuss der Beschilderung Vitra Campus entlang Aus der Schweiz: Autobahn A5 Basel-Karlsruhe, Ausfahrt 69 Weil am Rhein, Müllheimer Str. folgen (Dauer ca. 15 Min., Entfernung ca. 1 km) links abbiegen, Beschilderung Vitra Design Museum folgen Ab Bahnhof Basel SBB, Barfüsserplatz, Claraplatz, Kleinhüningen: Tram Linie Aus Frankreich: Aus Richtung Strassburg über den Grenzübergang Palmrain 8 bis Haltestelle „Weil am Rhein Bahnhof/Zentrum“ (Fahrtzeit 15-30 Min.), von (D), E 35 bis Vitra Campus dort zu Fuss der Beschilderung Vitra Campus entlang Müllheimer Str. folgen (Dauer ca. 15 Min., Entfernung ca. 1 km) Navi Eingang Nord: Charles-Eames-Str. 2, D-79576 Weil am Rhein Navi Eingang Süd: Müllheimer Str. -
Of Frank Gehry's Los Angeles Katherine Shearer Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The "Postmodern Geographies" of Frank Gehry's Los Angeles Katherine Shearer Scripps College Recommended Citation Shearer, Katherine, "The "Postmodern Geographies" of Frank Gehry's Los Angeles" (2017). Scripps Senior Theses. 1031. http://scholarship.claremont.edu/scripps_theses/1031 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE “POSTMODERN GEOGRAPHIES” OF FRANK GEHRY’S LOS ANGELES BY KATHERINE H. SHEARER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR GEORGE GORSE PROFESSOR BRUCE COATS APRIL 21, 2017 ACKNOWLEDGEMENTS First and foremost, I wish to thank my primary reader, Professor George Gorse. In the spring of my sophomore year, I took Professor Gorse’s class “Modern Architecture and Sustainability,” during which I became enthralled in the subject by his unparalleled passion for and poetic articulation of architectural history. Having been both his student and advisee, I am eternally grateful for the incredible advice, challenging insights, and jovial encouragement that Professor Gorse has always provided. I will also forever be in awe of Professor Gorse’s astonishing mental library and ability to recall entire names of art historical texts and scholars at the drop of a hat. I would also like to thank my secondary reader, Professor Bruce Coats, who made himself available to me and returned helpful revisions even while on sabbatical. -
• Architettura E Urbanistica • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
I.T.C.G. “E. Cenni” Vallo della Lucania (SA) Corso Geometri: Tecnologia delle costruzioni Docente: prof. Carlo Guida ----------------------------------------------------------------------------------------------------------------------------------------------- • • • • • • • • • • • • • • • • ARCHITETTURA E URBANISTICA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 Anno scolastico 2012-2013 I.T.C.G. “E. Cenni” Vallo della Lucania (SA) Corso Geometri: Tecnologia delle costruzioni Docente: prof. Carlo Guida ----------------------------------------------------------------------------------------------------------------------------------------------- • MOVIMENTO MODERNO Il Movimento Moderno nasce tra le due guerre mondiali, teso al rinnovamento dei caratteri, della progettazione e dei principi dell'architettura, dell'urbanistica e del design. Ne furono protagonisti quegli architetti che improntarono i loro progetti a criteri di funzionalità ed a nuovi concetti estetici. Il movimento si manifestò nella sua massima espressione negli anni dal 1920 al 1930. Un impulso determinante al movimento fu dato dai CIAM (Congressi Internazionali di Architettura Moderna) promossi da Le Corbusier, dove vennero elaborate molte delle teorie e principi moderni. Architettura Organica : Frank Lloyd, Wright (1869 -1959) Alvar, Aalto (1889 -1976) Futurismo: Antonio, Sant’Elia (1888 -1916) Razionalismo: Walter, Gropius (Bauhaus) (1883 -1969) Louis, Kahn (1901-1974) Funzionalismo: Charles -Edouard Jeanneret, Le Corbusier (1887 -1965) International -
Making Africa a Continent of Contemporary Design
Making Africa A Continent of Contemporary Design Vitra Design Museum Olalekan Jeyifous [vigilism.com], Idumota Market (Escape to New Lagos series), illustration for the lookbook of the Ikire Jones Heritage Men’s Fashion Collection, 2013 Cover: Cyrus Kabiru, African Stitches (C-Stunners Series), 2010 * Africa in 50 Years’ Time. The Road Towards Inclusive Growth, African Development Bank, September 2011 Making Africa A Continent of Contemporary Design It’s time to move on from talk of the so-called perspective. Instead of addressing the theme from the angle »Dark Continent«. A major exhibition by the Vitra of recycling, humanitarian design or traditional craft – an Design Museum sheds new light on contemporary approach that typically ties in with the image of a »failed« design in Africa. On the basis of a wide variety of continent – the exhibition is focusing instead on the role played examples, Making Africa shows how design is ac- by design as a tool for a new identity and hence a new future companying – and even promoting – economic and for Africa. With works that often transcend genre categories, political change on the continent and engaging in a young generation of designers and creative minds is quite a close dialogue with related disciplines, such as the literally building a new Africa. fine arts, illustration, film, photography, architec- Evidently, a German museum cannot tackle this theme on its ture and urban planning. A central role is played own. Early on in the project, Vitra Design Museum convened by the new media, which made this shift in perspec- an advisory body of proven experts: the consulting curator of tive possible in the first place.