The Iconographic Genesis of Shiva : This article talks about Lord Shiva and his origins in Indian art as well as his incorporation in the mainstream beliefs of the. EPHEMERAL RELICS: APPROACHES TO THE FIVE SENSES IN THE ANCIENT WORLD Saturday 2 March 2013 Class of 1949 Auditorium, Houston Hall The University of Pennsylvania. Best Online Masters in Fashion 2016/2017. Language of instruction: Spanish The Master in Fashion Design is aimed at graduates and / or graduates in disciplines. Pressed Juicery Today, Pressed Juicery is the leading cold-pressed juice chain, selling thousands of bottles every day. Pressed Juicery was created with one goal in. From Facades to Floor Plates & Form: The Evolution of Herzog & de Meuron. Herzog & de Meuron. Image Courtesy of Xavier de Jaur. These are not tagline descriptions of the 1. Lincoln Road, Miami Beach project, or a synopsis for a body of work. Instead they operate as retroactively projecting the course of professional development in the works of Swiss architects Herzog & de Meuron. The practice is known, from its earliest built projects, as a firm who produced artistically driven facade treatments where the vertical plane . As the practice has evolved, it is argued here, they have crafted a new strategy: the horizontal plane as vertical facade generator. In its progression the practice has deviated from facade ornamentation and fabrication towards the removal of the facade altogether; allowing for the floor plate . The placing of floor plates becomes the force creating the form . The building is a mixed- use development comprising of four different parcels that predominantly functions as a parking facility. Floor- to- ceiling heights vary between standard parking heights, double or even triple height in order to accommodate other programs in an inventive twist on the underutilised programmatic constraint of the typical parking station. The site accommodates an existing building, the former Suntrust bank; 3. Dan Graham. Here, the ornamentally reductive, yet visually apparent, car parking mass is formed through a number of striated, interlocking concrete slab floor plates which are carried by irregularly- spaced, shard- like columns with pedestrian and vehicular ramps. The structure seems strangely flimsy, mainly as a result of its multilateral columns that seem to bow and compress with the force applied by the floor plate above. Of course, the visual impact is achievable by the fact that there is no apparent facade. Image. The Miami Beach project marks a significant step in the evolution of the practice. Where previously Herzog & de Meuron initiated the idea of a layered building envelope through the use of gabion wall construction (e. Dominus Winery, California, 1. Ricola- Europe, Mulhouse- Brunstatt, 1. Lincoln Road visually collapses the facade into a. This is not achieved through representation, nor through a naive formal abstraction, it sublimates: where one component is taken as given, worked against another, producing something entirely different or subtly ambiguous, yet genealogically connected. Therefore, the figural sublimation of the facade is to define the vertical plane through a purified association of the basic components of construction. The same approach has been used in the marketing of the project with the design of the logo. The logo does not define the building. Instead it collapses everything into a. Each collaboration has shifted the practice towards a new line of enquiry: whether it is the facade treatment of polycarbonate backlighting at the Laban Dance Centre, UK (Craig- Martin); the light filtration through replication of a photographic image at the Ricola- Europe factory, Switzerland (Blossfeldt); or, the instantly recognisable structural conglomeration of the Bird. However, in projects designed since the turn of the century, Herzog & de Meuron has allowed the floor plate to become a defining element in the facade. Image Courtesy of Herzog & de Meuron. One such idea is that of . In a step away from the house, towards the further simplification of form, Herzog & de Meuron at. Floor slabs and ceiling planes are aesthetically identical, intensifying the idea of the stack. The project. The building, with its array of haphazardly arranged cantilevering floors offset at jaunty angles and in all directions, indicates an embryonic use of the floor plate as design feature. As opposed to the stack effect, what is palpable from the project is the uniformity of the ceiling plane and floor slab; both white plinths define horizontality rather than a vertical stack. A distinct development towards the floor plate becoming a dominant design generator. The Actelion project acts as prototypical for the proceeding Herzog & de Meuron buildings, where each project explores the idea that the facade is only truly revealed by the horizontal plane . Such a strong characteristic has almost become the sole, immediate design feature. A subtle nuance: the facade has become non- visible in favour of the floor plate; whereas before the slab was invisible, often hidden behind a perforated skin or gabion wall construction. It is a simple, yet revolutionary reversal. Ideologically the project stands in stark contrast to the blandness of most other city towers. Instead, Herzog & de Meuron create a number of shifting floor plates that not only define corners, sheltering cantilevers or private balconies, but that also provide a non- visible skin. As the practice states: . Instead, exposed horizontal concrete slabs register the floor- by- floor stacking of the construction process. Image Courtesy of Herzog & de Meuron. Such asymmetrical floor plate striation creates a distinctive quality to 5. Leonard Street, making it aesthetically similar to Beirut Terraces (Beirut, planned completion 2. One consistent measurement in the Beirut project is the 3. In order for the building mass to fluctuate, the apartment partitions are non- load bearing and the structure is instead carried by a central column grid with spans of up to 1. In resolving construction issues Herzog & de Meuron create a visually striking tower. This layering effect may well be in direct relation to programmatic necessities or, in the case of the Beirut project, some kind of subtle reference to the city. But more importantly, the resultant design of varying floor plates, projecting and rising to 1. The aforementioned towers create a verticality through the shifting floor plates, but at the S. The pavillion is devised as a nuanced continuation of the Serpentine pavillion- a project that annually invites selected individual designers such as Renzo Piano, SANAA and Frank Gehry to design their own version. With a single plinth doubling as both roof and platform for special events, Herzog & de Meuron. The floor plate becomes a dual operative plane . Although the floor plate is singular at Serpentine it highlights a point in a career progression that sees Herzog & de Meuron cast a notional interpretation of the. Image Courtesy of Herzog & de Meuron. Prior to the twenty- first century, Herzog & de Meuron. The Stone House (Italy, 1. In an idea replicated at the Dominus Winery (California, 1. With shadow relief, stone patterns and filtration, the facade effectively becomes an interactive . If the aggregated rustic stone facade acts as a three- dimensional skin, the facade at the Signal Box Auf dem Wolf (Basel, 1. This combination exemplifies a horizontal condition, visually reducing the volumetric height of the project. Image Courtesy of Herzog & de Meuron. It may well be coincidental to the practice. The unassumingly titled. Its straightforward, uncomplicated volume may well be designed to accommodate adjacent residential buildings and to reduce the immediate impact on street level; but with its east fa. For example, the Ricola- Europe SA, Production and Storage Building. The building is typical of the factory typology; it is a steel- framed box with expansive spans and flexible internal divisions allowing for efficient factory operation. It is rectangular in plan and has deep sweeping awnings that are reminiscent of an open cardboard box. With the use of a silk- screened image, Herzog & de Meuron cultivates an idea of absolute flatness. The defining feature is that the exterior aesthetic functions solely on its facade . The architectural mechanics are concealed, only the facade. In contrast, the aforementioned larger scaled projects like 1. Lincoln Road, Triangle and Beirut Terraces . The floor plates become pre- eminent as the facade recedes from visibility, where the programmatic complexity is overcompensated for by the visual illusion of the idea of a facade. It is a distinct reversal from the treatments of earlier projects, notably Ricola- Europe or Signal Box Auf dem Wolf. Image Courtesy of Aron Lorincz. To trace this idea through the career of the practice begins to unravel a possible thread, and one that may be dormant to the practitioners themselves. Herzog & de Meuron, as visiting professors at both Harvard University. In their collaborations with notable artists, they have previously cited figures from different fields believing that such a cross- contamination of discursive methods only adds to the richness of architectural production. Many of the terms at play in much of the earlier works are centred on terminology rooted in the late 1. Through varying facade treatments Herzog & de Meuron obscurely reveal the floor plates. For instance, the Prada Aoyama (Tokyo, 2. Similarly, at the Laban Dance Centre (London, 1. The facade would diffuse light through its gabion construction; or seductively shimmer in the moonlight; or its metal surface was figuratively perforated in its fabrication; or, its smooth, flatness collapsed images into a silk- screened two- dimensional image dually operating as a three- dimensional skin. One aspect remained constant: the facade was paramount; remaining as such for the fact that it concealed the mechanics of the building with the floor plate lying visually dormant. A non- visible, functional component in the construction process and a programmatic element. Image Courtesy of Herzog & de Meuron. As the body of work progressed, so does the concept of facade. In its various manifestations the facade has been a figurative description of a functionalist plane; with its overriding significance never in doubt, rather it has merely shifted from immediate view. Where once the facade .
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