Tuesday, April 24, 2018

Renzo PIANO - The Aquarium



Renzo PIANO - (1992) - The Aquarium (Genova - Italy)

The Aquarius in Genoa [http://www.acquariodigenova.it], spectacular structure, is in Europe, the aquarium that represents the most greater variety of ecosystems, second for dimensions only to that of Valencia in Spain, the dimensions of the basins, that contain around four million liters of water, reproduce, in the maximum respect of the biological equilibrium, the Mediterranean's and the Ocean's habitat. The form of the aquarium alludes to something of maritime: it seems, in fact, a ship in a dock's basin. The aquarium is suspended on concrete's circular columns, and it fluctuates above the old dock. This is a characteristic some curious, because the columns seem to undertake themselves in the attempt to hold the fishes out of the water. The principal tubs are collocated in the way that the visitors can see it from two different levels: according to the point of observation, the effect is an underwater immersion or a superficial view, illuminated by the natural light through the transparent roof. The structure has been inaugurated October 15th 1992 on the occasion of the Colombus celebrations , the commemorative exposure of the five hundredth's Anniversary of the America's discovery. The Aquarius of Genoa is project from the Genoese architect Renzo Piano [http://www.rpbw.com/], that has used, for the technical part and curatorial, of the consultation of the American architect Peter Chermayeff [http://www.peterchermayeff.com/] with the Cambrige Seven Associates, specialized in the aquariums planning. The path, around 2 hours and half of duration, it unties him on a total surface of 9.700 square meters. The original core, constituted from 39 basins, it reconstructs the natural environments of the single species with evident didactic finalities. Of particular esteem they are the three great basins that entertain dolphins, sharks, seals and turtle besides innumerable other kinds of fishes. In a lot of them the visitor can dip the hands and to directly touch the fishes. The water of the aquarium is withdrawn offshore the coast and it is housed in four cisterns situated to side of the two floors. Water is purified and disinfected, therefore introduced in the basins, all of them provide of mechanics and biological's filtering installations, the plant has been taken care by Italimpianti.

Renzo PIANO - Il VULCANO Buono



Renzo PIANO - (2007) - Il VULCANO Buono (NOLA - Italy)

Renzo Piano, ispirandosi al Vesuvio ha progettato il nuovo e colossale centro commerciale che sorge a Nola, a pochi km da Napoli. Qui Renzo Piano non poteva non trarre spunto dal simbolo napoletano per antonomasia: il Vesuvio. Il Vulcano Buono, così si chiama il centro commerciale concepito e progettato dal Renzo Piano Building Workshop, è una collina artificiale che segue le uniche e sinuose forme del vulcano partenopeo in un insieme di solidi circolari, ognuno dei quali ha una pendenza differente, che si fondono a formare una struttura troncoconica a pianta ovoidale, aperta al centro, che ricalca l'aspetto, appunto, del Vesuvio. Il margine superiore della collina artificiale ha un'altezza che varia dai 25 ai 41 metri, con un diametro totale di 320 metri. Ospita una piazza centrale di 160 metri di diametro a cielo scoperto, divisa in tre zone concentriche, la più interna con palco dedicata allo spettacolo, quella intermedia al commercio e la più esterna, che fa da corona alla costruzione che vi si affaccia riservata a verde e piantumata di pini. Inoltre il progetto di Piano riserva grande attenzione anche alla sostenibilità ambientale, infatti attorno alla struttura è nato un enorme parco verde, con oltre 2000 alberi. Dall'esterno, fatta eccezione per i diversi ingressi (chiamati Capri, Sorrento, Amalfi, Positano e Ischia, più le uscite di sicurezza), il complesso è praticamente invisibile come opera architettonica perché le coperture in calcestruzzo armato sono ricoperte da terriccio dove trovano posto prato e vegetazione bassa che si armonizzano con il paesaggio circostante, mimetizzando di fatto la struttura. In questo senso si può parlare di edificio eco-orientato. Il complesso è un grosso centro multifunzionale costituito da un albergo, un ipermercato, un cinema multisala e da una galleria, a doppia altezza, di 155 negozi e diversi ristoranti e bar. Al centro è presente una grande piazza circolare che viene utilizzata per concerti e manifestazioni. L'interno del centro commerciale, a doppia altezza, è suddiviso in colori: (Capri - giallo), (Sorrento - arancione), (Amalfi - blu), (Positano - rosso), (Ischia - verde). Le hall degli ingressi sono delle grosse piazze dedicate alle omonime cittadine corrispondenti, le piazze sono raccordate dai viali dedicati a famosi attori napoletani come Antonio de Curtis (detto ToTò), Massimo Troisi, Tina Pica e Pupella Maggio; il piano sovrastante è collegato con quello di terra tramite scale mobili e ascensori, mentre al piano superiore i solai di entrambe le parti sono collegati da ponti di acciaio. Come si può vedere il progetto di Renzo Piano non vuole essere il solito contenitore di negozi, ma proprio come egli stesso dice un'interpretazione della cooperazione dell'antico mercato greco in chiave moderna. Non vogliamo costruire un triste shopping center ma una piazza dove il vuoto è l'elemento d'incontro tra le persone Un centro per l'offerta di servizi, ma anche punto di aggregazione e cultura. L'edificio è stato inaugurato il 7 dicembre 2007.

Renzo PIANO - Chiesa di Padre PIO



Renzo PIANO - (2004) - Chiesa di Padre PIO (S.Giovanni Rotondo - Italy)

The newly inaugurated church, will serve the large number of pilgrims visiting the place where Saint Padre Pio used to live. Visitors are guided up the slope, along a long straight pedestrian path with garden terrace zones extending along its sides. The path is aligned with the entryway arch to the church and to the great cross that emerges, almost 40 meters tall, as a focal point on arrival. The first nine columns of the parvis, reaching a height of 25 meters, support the eight bells that form the original belltower of the church. In the design by Renzo Piano, the worshippers are enveloped by a gigantic snail shape, the outline of which is formed by a three-quarter circle of steadily decreasing radius.

 The materials, selected to express simplicity and solidity, are local stone, wood and glass. The immense roof skin is finished in pre-patinated copper with a supporting structure of wood and limestone. The supporting structure consists of two intermeshing rows of Apricena stone arches arranged in a circle, a total of 21, that form an inner and an outer ring with the arches of the outer ring representing scaled-down copies of the inner ones.

The arches of the inner ring originate in the centre of the three-quarter circle, where the altar is located. Since the spans of the arches steadily decrease, with the decreasing radius of the circle, a spiral shape is created that is reminiscent of a snail's shell. The radial structure, divided into sectors seating 300-400, brings the assembly as close as possible to the altar. The arch construction, together with a secondary structural system made of wood, supports the wood ceiling. To allow for a certain amount of play in the event of an earthquake steel cables have been stretched between the arches.

The area, enclosed by the three-quarter circle of the outline, forms the apex of a triangular square that slopes down towards the entrance. The huge stained glass window, set in the stone arch, filters the light entering the church that, otherwise, remains in semi-darkness with only a light well above the altar.

The pavement, covered with slabs of the same stone as the arches, connects the church and the forecourt, and continues into the hall, blurring the transition between the forecourt and the interior. The forecourt holds up to 30,000 people who, because of the open, connection between church interior and forecourt, can take part in the celebrations. The crypt, chapels, confessionals and several modern administrative and event rooms are located in the 11,000 square meter basement.

Monday, April 16, 2018

Santiago Calatrava - City of Arts and Sciences



The City of Arts and Sciences is an entertainment-based cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia. The City of Arts and Sciences is situated at the end of the former riverbed of the river Turia, which was drained and rerouted after a catastrophic flood in 1957. The old riverbed was turned into a picturesque sunken park. Designed by Santiago Calatrava and Félix Candela, the project underwent the first stages of construction in July 1996 and the finished "city" was inaugurated April 16, 1998 with the opening of L'Hemisfèric. The last great component of the City of Arts and Sciences, El Palau de les Arts Reina Sofia, was presented on October 9, 2005, Valencian Community Day. .

Carlo SCARPA - Castelvecchio Museum



Between 1958 and 1974, Castelvecchio, underwent an important renovation and reinstallation of the museum spaces, designed and supervised for the city of Verona by the architect Carlo Scarpa ( Venice 1906 - Sensai, Japan 1978) during the directinship of the art historian Licisco Magagnato. The antique arms court, reduced at the beginning of the twentieth century to an Italianate garden, was trasformed by Scarpa into an extraordinary modern courtyard that evokes both Venice and tradition of gardens, and at the same time complements the architecture with geometrical logic and the use of both traditional Veronese materials, such as Prun stone, and contemporary ones, such as concrete. This space is both the prologue to the museum visit and a resting point along the route. Several important works in stone are also sited within the garden: two 19th-century fountains, an early 13th-century sarcophagus, the central rose from the mediaval floor of the church of Sant'Anastasia, installed here like an emblem next to the entrance. In addition, the site contains a medieval sundial and the celebrated equestrian statue of Cangrande I della Scala.

Saturday, April 14, 2018

Sketches of Frank Gehry


Zaha HADID - MAXXI Museum Art XXI - Part.1+2




 

Zaha HADID - (2009) - MAXXI Museum Art XXI (Roma - Italy) - Part.1 Zaha Hadid http://www.zaha-hadid.com/ has drawn walls that plough the space delineating fields of strength with fluid trajectories that cross the space, and there are the same intersection to define the circle among inside and outside. The structure has a complex and irregular form that corresponds to an inside articulation without clean division of plans and spaces: a composite environment characteristic from a high-level of functional flexibility in which the light plays a remarkable role in fact a coverage in glass floods of natural light all the spaces. We don't find us of forehead to a journey to effect, but to an experience of trip in a complex net of connections and runs that through bridges and staircases they bring us "long" the three levels of the structure without ever returning on our footsteps and always discovering new roads. An architecture that opens a tear in the circuit of the time and they forces every of us to change our point of view, that is something that belongs much more to the cinema that to the architecture and the multiplicity of the visions, when everything is confuses and then everything returns clear, as in a film. It's the MAXXI http://www.maxxi.beniculturali.it/ind... the Modern Art Museum of XXI Century in Rome - Italy (41°55'41.67"N - 12°28'1.77"E). Public open was in 20 May 2010. Info in Via Guido Reni,4 - Rome - Tel.+0039.06.3210181

Oscar NIEMEYER - Auditorium



Oscar NIEMEYER - (2010) - Auditorium (Ravello - Italy) [...] It's not the right angle that attracts me, and not even the straight line, hard and inflexible, created by man. What attracts me is the sensual free curve, the curve that I meet in the mountains of my country, in the preferred woman, in the clouds of the sky and in the waves of the sea; of the curves which make the whole universe, the curved universe of Einstein. [...] Oscar Niemeyers masterpiece for Ravello: http://www.niemeyer.org.br/. The culture in which his architecture is based is sunny, daring and balanced, all at the same time, something which unites all Latin countries on both sides of the Atlantic; therefore, an intimate harmony between his style and ours is key. From the creator of the only city of the world built in the twentieth century and recognized by the UNESCO Patrimony of the humanity, Brasilia the federal capital of Brazil, that April 21st 2010 will celebrate the fiftieth anniversary from its foundation happened in 1960. Niemeyer is universally recognized as architectural genius of our day and he has succeeded in the mission to create a architectonic complex that was both simple an bold, able to stand out from but non contrast with its surroundings. The Auditorium http://www.auditoriumoscarniemeyer.it/ is reached by means of an oblong square from which it's possible to admire both the breathtaking panorama and the remarkable building. (40°39'2.56"N - 14°36'50.55"E)The concert hall, which includes the parterre, the orchestra stage and the foyer, boldly juts forth into empty space. The technical characteristics give perfect acoustics and the landscape can still be enjoyed thanks to the large glass front and the window behind the orchestra.

Massimiliano Fuksas - NARDINI Distillery



Massimiliano Fuksas - Events & Research Space NARDINI Distillery in Bassano del Grappa, Vicenza, Italy (2004) For the historic 225th corporate anniversary, the Nardini Family set out to create an architectural icon; from the vision of Massimiliano Fuksas [http://www.fuksas.it/], a landmark was unveiled in 2004, "Le Bolle" (the Glass Bubbles) that dares to compete with the Andrea Palladio Bridge, an inseparable symbol of the city of Bassano and Nardini [http://www.nardini.it/]. The aim of this project was to meet the need for an auditorium where those interested in the world of Grappa could be welcomed all year; an expanded laboratory facility, and a space to host internal meetings and events of high cultural value. The Analysis laboratory in the lower bubble is a vitally important workplace it is where the exacting quality and continuity of NARDINI Products is guaranteed, with daily quality control for every lot Trasparent and double-glazed, providing exellent solar protection and a very low level of light refelction combined with energy saving efficienty. 11.500 sq.m. of galss used. 572 couples of glass panes. 204 panes of clear glass on the upper part. produced. 82 opaque panes in the lower part of each bubble. 691 sq.m. of surface area of the upper bubble. 514 sq.m. of surface area in the lower bubble.

Norman FOSTER - REICHSTAG Dome



Norman FOSTER - (1999) - Reichstag Dome (Berlin, Germany) The current Reichstag dome is a glass dome constructed on top of the rebuilt Reichstag building in Berlin. It was designed by architect Norman Foster and built to symbolize the reunification of Germany. The distinctive appearance of the dome has made it a prominent landmark in Berlin. The Reichstag dome is a large glass dome with a 360 degree view of the surrounding Berlin cityscape. The debating chamber of the Bundestag, the German parliament, can be seen down below. A mirrored cone in the center of the dome directs sunlight into the building, and so that visitors can see the working of the chamber. The dome is open to the public and can be reached by climbing two steel, spiraling ramps that are reminiscent of a double-helix. The Dome symbolizes that the people are above the government, as was not the case during National Socialism. The glass dome was also designed by Foster to be environmentally friendly. Energy efficient features involving the use of the daylight shining through the mirrored cone were applied, effectively decreasing the carbon emissions of the building. The futuristic and transparent design of the Reichstag dome makes it a unique landmark, and symbolizes Berlin's attempt to move away from a past of Nazism and instead towards a future with a heavier emphasis on a united, democratic Germany.