2008年10月8日星期三
10 emotive words and 3 Chosen words
Emotive Words:
Heritage
Cave
Sculpture
Curve
Ceramic
Cone
Spacial
Light
Variety
Structure
Chosen Words:
Spacial
Light
Structure
Heritage
Cave
Sculpture
Curve
Ceramic
Cone
Spacial
Light
Variety
Structure
Chosen Words:
Spacial
Light
Structure
2*250 words
Utzon's work was influenced by extensive travel and by Mayan, Chinese, Japanese, and Islamic traditions as well as his own Scandinavian roots. The Pritzker jury notes that Jorn Utzon ‘combines these more ancient heritages with his own balanced discipline, a sense of architecture as art, and natural instinct for organic structures related to site conditions.’
It seems that Utzon were interested in and good at utilizing curve shapes in his design. And he concentrated on the structure function of the shapes that form the building. As what he said, “The world of the curved form can give something that cannot ever be achieved by means of rectangular architecture. The hulls of ships, caves and sculpture demonstrate this.” Like the famous Sydney Opera House, Utzon applied the so-called ‘shell-pagoda form’ in its external figure. It is a fascinating feature in the field of modern architecture, although, it was not accepted by Australian people before. Likewise, Utzon also used a lot of curved elements in the unbuilt project of Silkeborg Art Museum. Firstly, he created a huge ‘crocus cone’ inside the building as the main galleries. The experience of visiting the caves in Tatung in China inspired him the design of these huge caverns. The round form of them shows a pretty distinctive architectural feature. And these giant crocuses were also designed to receive various qualities of natural light, which couldn’t be realized in the rectangular architecture. And I think the cone form is also a kind of excellent structural element in a way. The firmness of this form has been proved by the caves in Tatung, which have had thousands years of history. Secondly, the visitor is supposed to get access into the galleries through a complicated and attractive ramp system. Although complicated, the ramp system can still lead the viewers to glide down into different parts of the museum easily. I think this spiral form inspires an echo with the ‘crocus cone’, both in the aesthetic and structural aspects.
In this project, Utzon supposed to create the whole building as a round and smooth ceramic sculpture. To achieve it, he abandoned the normal strict geometry forms and traditional stairs and corridors, but applied the arc shapes as the key tone of the whole design, which bring out a distinctive curve world finally.
Reference: ArcSpace.com, Jørn Utzon-Silkeborg Art Museum extension, http://www.arcspace.com/architects/utzon/silkeborg.htm.
Redesign:
After reading John Utzon’s project of Silkerbog Museum, I decided that the new design of Silkerbog Museum would still be based the concepts that John Utzon imposed and applied in his previous design. First of all, I will remain the idea of ‘cave’. But not like the previous one that is penetrated into the earth, the new one will stand outside. Because the underground world always gives out a sense of press, no matter of its scale. I am supposed to create a half-open and half-close space, which means that the art is always open to the public and the museum is a space that gather these art works, and make it accessed easily. Moreover, another theme that I would like to emphasize is the lighting condition of the whole architecture. The subterranean world that John Utzon established in The Silkerbog Museum can not provide an excellent lighting condition for the galleries. So I may just locate it on the earth. Then it can be well illuminated under the natural light. Besides, John Utzon often established an outstanding construction element in his design, like the huge shell-shaped roof in the Sydney Opera House. And I will create a adventurous construction in my design as well. It would be a dramatic curved shape to follow John Utzon’s concept.
It seems that Utzon were interested in and good at utilizing curve shapes in his design. And he concentrated on the structure function of the shapes that form the building. As what he said, “The world of the curved form can give something that cannot ever be achieved by means of rectangular architecture. The hulls of ships, caves and sculpture demonstrate this.” Like the famous Sydney Opera House, Utzon applied the so-called ‘shell-pagoda form’ in its external figure. It is a fascinating feature in the field of modern architecture, although, it was not accepted by Australian people before. Likewise, Utzon also used a lot of curved elements in the unbuilt project of Silkeborg Art Museum. Firstly, he created a huge ‘crocus cone’ inside the building as the main galleries. The experience of visiting the caves in Tatung in China inspired him the design of these huge caverns. The round form of them shows a pretty distinctive architectural feature. And these giant crocuses were also designed to receive various qualities of natural light, which couldn’t be realized in the rectangular architecture. And I think the cone form is also a kind of excellent structural element in a way. The firmness of this form has been proved by the caves in Tatung, which have had thousands years of history. Secondly, the visitor is supposed to get access into the galleries through a complicated and attractive ramp system. Although complicated, the ramp system can still lead the viewers to glide down into different parts of the museum easily. I think this spiral form inspires an echo with the ‘crocus cone’, both in the aesthetic and structural aspects.
In this project, Utzon supposed to create the whole building as a round and smooth ceramic sculpture. To achieve it, he abandoned the normal strict geometry forms and traditional stairs and corridors, but applied the arc shapes as the key tone of the whole design, which bring out a distinctive curve world finally.
Reference: ArcSpace.com, Jørn Utzon-Silkeborg Art Museum extension, http://www.arcspace.com/architects/utzon/silkeborg.htm.
Redesign:
After reading John Utzon’s project of Silkerbog Museum, I decided that the new design of Silkerbog Museum would still be based the concepts that John Utzon imposed and applied in his previous design. First of all, I will remain the idea of ‘cave’. But not like the previous one that is penetrated into the earth, the new one will stand outside. Because the underground world always gives out a sense of press, no matter of its scale. I am supposed to create a half-open and half-close space, which means that the art is always open to the public and the museum is a space that gather these art works, and make it accessed easily. Moreover, another theme that I would like to emphasize is the lighting condition of the whole architecture. The subterranean world that John Utzon established in The Silkerbog Museum can not provide an excellent lighting condition for the galleries. So I may just locate it on the earth. Then it can be well illuminated under the natural light. Besides, John Utzon often established an outstanding construction element in his design, like the huge shell-shaped roof in the Sydney Opera House. And I will create a adventurous construction in my design as well. It would be a dramatic curved shape to follow John Utzon’s concept.
2008年9月16日星期二
2008年9月15日星期一
Information about the design of East Building of NGA
In a moment of insight, I. M. Pei solved the problem of the site's irregular shape by dividing it into an isosceles triangle and a smaller right triangle. He later recalled, "I sketched a trapezoid on the back of an envelope. I drew a diagonal line across the trapezoid and produced two triangles. That was the beginning."
The early sketch, at left, shows the division of the site into two triangles. The West Building is represented by the lines to the left of the drawing, with the arrow suggesting its strong east-west axis.I. M. Pei. Early conceptual sketch for building plan, National Gallery of Art East Building, fall 1968.Crayon and graphite on tracing paper
In the quick study of the urban context for the building, below, Pei showed the profile and proportions of the East Building in relationship to the West Building and the U. S. Capitol.
Early in 1969, Pei's design was refined and elaborated to near-final form. The two triangles of the architect's original conception were pulled apart to create a slot that would emphasize the separateness of the two spaces: one for the museum's public functions and the other for its study center. Three towers were beginning to emerge at the corners of the isosceles triangle, balancing the east-west axis of the West Building.
The early sketch, at left, shows the division of the site into two triangles. The West Building is represented by the lines to the left of the drawing, with the arrow suggesting its strong east-west axis.I. M. Pei. Early conceptual sketch for building plan, National Gallery of Art East Building, fall 1968.Crayon and graphite on tracing paper
In the quick study of the urban context for the building, below, Pei showed the profile and proportions of the East Building in relationship to the West Building and the U. S. Capitol.
Early in 1969, Pei's design was refined and elaborated to near-final form. The two triangles of the architect's original conception were pulled apart to create a slot that would emphasize the separateness of the two spaces: one for the museum's public functions and the other for its study center. Three towers were beginning to emerge at the corners of the isosceles triangle, balancing the east-west axis of the West Building.
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