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Thursday, October 29, 2009
Tuesday, October 27, 2009
Monday, October 26, 2009
500 Words
Skate Vitra is an innovation for the purpose of engaging youth culture into the world of art and architecture. The adaptation of a structure that represents deep thought process and immersion into the fabric that is the built environment, allows for a youth culture the opportunity to conceptualise this world from their own point of view. The intent is to breed a new generation of thinkers that can reconceptualise architecture from a functionalist, yet youth-culture driven and entertainment perspective.
Skate Vitra has adapted the forms of Frank Gehry’s design and used them advantageously to create a multi-faceted space in which the world of skateboarding can be taken to new heights. The multi-levelled building offers the opportunity to generate various forms of skate park, meshed into one environment of free-flowing expression. Skate Vitra boasts a range of iconic features that are unique to the world of skateboarding.
The rooftop skate park in which surrounding heights add to the adrenaline rush already set in place by the various flat ramps, quarter-pipe and handrail that inhabit this concrete plain.
The indoor bowl in ground level placed dangerously close to the wall tempting the instinct for innovative bowl expression.
The upstairs transfer gap over the walkway has the potential to blow blood vessels as the transfer becomes scarily close to other structures in the vicinity, with nothing but empty space below it for the crash landing.
The 3 metre extension quarter-pipe in the main area is the ultimate challenge. It’s mere height and lack of transition is what eats at the stomach of most skaters, leaving them contemplatively staring down its length for hours or even walking away.
The development of this skate park took an environmentally friendly approach, as old plywood was salvaged, treated and then used in the fabrication of most of the ramps. For support beams stronger more trustworthy wooden beams were utilised for safety issues. The roof was replaced with second hand corrugated iron, allowing cooler summer as it reflects a lot of the heat from the sun. Some walls were knocked out to allow the flow of the skate park, and also for access to area that were previously not accessible from their respective locations. This angle ultimately opened up the building into a haven for skateboarders as it adapted to the characteristics of a skate park. The buildings structural integrity was inherited for the sake of the buildings purpose of hybridising the paradigms of art and skateboard culture.
Skate Vitra has adapted the forms of Frank Gehry’s design and used them advantageously to create a multi-faceted space in which the world of skateboarding can be taken to new heights. The multi-levelled building offers the opportunity to generate various forms of skate park, meshed into one environment of free-flowing expression. Skate Vitra boasts a range of iconic features that are unique to the world of skateboarding.
The rooftop skate park in which surrounding heights add to the adrenaline rush already set in place by the various flat ramps, quarter-pipe and handrail that inhabit this concrete plain.
The indoor bowl in ground level placed dangerously close to the wall tempting the instinct for innovative bowl expression.
The upstairs transfer gap over the walkway has the potential to blow blood vessels as the transfer becomes scarily close to other structures in the vicinity, with nothing but empty space below it for the crash landing.
The 3 metre extension quarter-pipe in the main area is the ultimate challenge. It’s mere height and lack of transition is what eats at the stomach of most skaters, leaving them contemplatively staring down its length for hours or even walking away.
The development of this skate park took an environmentally friendly approach, as old plywood was salvaged, treated and then used in the fabrication of most of the ramps. For support beams stronger more trustworthy wooden beams were utilised for safety issues. The roof was replaced with second hand corrugated iron, allowing cooler summer as it reflects a lot of the heat from the sun. Some walls were knocked out to allow the flow of the skate park, and also for access to area that were previously not accessible from their respective locations. This angle ultimately opened up the building into a haven for skateboarders as it adapted to the characteristics of a skate park. The buildings structural integrity was inherited for the sake of the buildings purpose of hybridising the paradigms of art and skateboard culture.
Tuesday, October 13, 2009
Textures, Research and Final Model Reinvisioned
Pine Wood
Anonymous artist, Deviantart, http://ncrow.deviantart.com/art/Texture-Wood-Pack-01-126000482(accessed 13 October 2009)
Corrugated Iron
Anonymous artist, Mayang, http://images.google.com.au/imgres?imgurl=http://mayang.com/textures/Metal/images/Corrugated%2520Metal/corrugated_iron_sheet_61901(accessed 13 October 2009)
Concrete
Anonymous artist, Free Seamless Textures, http://seamlesstextures.net/textures/river%20stone(accessed 13 October 2009)
Brick
Anonymous artist, Your Daily Texture, http://images.google.com.au/imgres?imgurl=http://www.yourdailytexture.com/images/Brick/White%2520Brick%252001%2520-%2520Brick.jpg&imgrefurl=http://www.yourdailytexture.com/brick/white_brick_01/&usg=__mwcd59yKsYTKS7KwGvQ8EkQWZ34=&h=237&w=355&sz=19&hl=en&start=1&um=1&tbnid=ruW0QIjXvZMu4M:&tbnh=81&tbnw=121&prev=/images%3Fq%3DWhite%2BBrick%2B01%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-GB:official%26sa%3DG%26um%3D1(accessed 13 October 2009)
Plywood
Anonymous artist, Deviantart, http://stalker-stock.deviantart.com/art/Texture-016-36063685(accessed 13 October 2009)
The chosen textures are based on an industrial theme. The amount of wear and tear that skateparks are required to endure requires them to utilise cheap yet durable materials such as concrete, plywood, sheet metals and in some cases, where money is less of an issue, a special fibreglass compound that reduces wear on surfaces, which is a problem with wood, and also increases grip on skateboard wheels and bike tires.
Test Renders
Alternative exterior colour of corrugated iron test
Inner light and corrugated iron displacement map test
Displacement map test on plywood and brick wall
Exterior test with infinite plane and surrounding forms
Original Textures
Anonymous Artist, Texturise, http://www.texturise.com/?cat=22, (accessed 3 October 2009)
The growing popularity of skateboarding over the last few decades called for more skateparks to be built. This required much thought into the materials and location of this new type of architecture as the skateparks became more obscure and larger.
From the mere streets onto the curved plains of waterways and canals, the terrain of these parks began to alter and evolve. Wooden skateparks becoming more and more contoured and intricate, ramps becoming bigger and more complex. The development of indoor skateparks as opposed to the traditional outdoor setups allowed bigger spaces to be used, and other materials to be tested as weather was not as much fo an issue anymore. The wooden skateparks took a lot of wear and tear under the harsh sun and rain.
From plain plywood, the skateparks began to involve MDF(masonite) sheets in order to smooth out the surfaces, as plywood often splintered after much use. Coping(metal piping) was added to quarterpipes as the the desire for more complex tricks were introduced. From 50-50 grinds to Noseblunt stalls, the architecture of skateboarding was evolving into new forms. Half-pipes were more commonly being built in the suburbs away from the skateparks. The need to empty out swimming pools for pool skating was removed when concrete bowls were introduced. Bowls were being built in all shapes and forms. Snake runs and even wooden bowls were being constructed within the wals of indoor skatparks.
From metal edges, to mdf smoothed out transitions, further development was made to increase the wear abilities of outdoor skateparks. On some skateparks nowadays a heavyweight fibreglass compound is layed over the top of the plywood base. This material increase grip for bmx wheels, as well as reduces the amount fo wear wheels have on it. As well as this, the lack of wear means no splinters upon failed ramp skating.
The architecture of skateboarding has evolved such that the diverse range of materials we have at our fingetips today, we are able to utilise whatever material we feel is appropriate for the particular purpose of our skating experience.
Anonymous artist, Deviantart, http://ncrow.deviantart.com/art/Texture-Wood-Pack-01-126000482(accessed 13 October 2009)
Corrugated Iron
Anonymous artist, Mayang, http://images.google.com.au/imgres?imgurl=http://mayang.com/textures/Metal/images/Corrugated%2520Metal/corrugated_iron_sheet_61901(accessed 13 October 2009)
Concrete
Anonymous artist, Free Seamless Textures, http://seamlesstextures.net/textures/river%20stone(accessed 13 October 2009)
Brick
Anonymous artist, Your Daily Texture, http://images.google.com.au/imgres?imgurl=http://www.yourdailytexture.com/images/Brick/White%2520Brick%252001%2520-%2520Brick.jpg&imgrefurl=http://www.yourdailytexture.com/brick/white_brick_01/&usg=__mwcd59yKsYTKS7KwGvQ8EkQWZ34=&h=237&w=355&sz=19&hl=en&start=1&um=1&tbnid=ruW0QIjXvZMu4M:&tbnh=81&tbnw=121&prev=/images%3Fq%3DWhite%2BBrick%2B01%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-GB:official%26sa%3DG%26um%3D1(accessed 13 October 2009)
Plywood
Anonymous artist, Deviantart, http://stalker-stock.deviantart.com/art/Texture-016-36063685(accessed 13 October 2009)
The chosen textures are based on an industrial theme. The amount of wear and tear that skateparks are required to endure requires them to utilise cheap yet durable materials such as concrete, plywood, sheet metals and in some cases, where money is less of an issue, a special fibreglass compound that reduces wear on surfaces, which is a problem with wood, and also increases grip on skateboard wheels and bike tires.
Test Renders
Alternative exterior colour of corrugated iron test
Inner light and corrugated iron displacement map test
Displacement map test on plywood and brick wall
Exterior test with infinite plane and surrounding forms
Original Textures
Anonymous Artist, Texturise, http://www.texturise.com/?cat=22, (accessed 3 October 2009)
The growing popularity of skateboarding over the last few decades called for more skateparks to be built. This required much thought into the materials and location of this new type of architecture as the skateparks became more obscure and larger.
From the mere streets onto the curved plains of waterways and canals, the terrain of these parks began to alter and evolve. Wooden skateparks becoming more and more contoured and intricate, ramps becoming bigger and more complex. The development of indoor skateparks as opposed to the traditional outdoor setups allowed bigger spaces to be used, and other materials to be tested as weather was not as much fo an issue anymore. The wooden skateparks took a lot of wear and tear under the harsh sun and rain.
From plain plywood, the skateparks began to involve MDF(masonite) sheets in order to smooth out the surfaces, as plywood often splintered after much use. Coping(metal piping) was added to quarterpipes as the the desire for more complex tricks were introduced. From 50-50 grinds to Noseblunt stalls, the architecture of skateboarding was evolving into new forms. Half-pipes were more commonly being built in the suburbs away from the skateparks. The need to empty out swimming pools for pool skating was removed when concrete bowls were introduced. Bowls were being built in all shapes and forms. Snake runs and even wooden bowls were being constructed within the wals of indoor skatparks.
From metal edges, to mdf smoothed out transitions, further development was made to increase the wear abilities of outdoor skateparks. On some skateparks nowadays a heavyweight fibreglass compound is layed over the top of the plywood base. This material increase grip for bmx wheels, as well as reduces the amount fo wear wheels have on it. As well as this, the lack of wear means no splinters upon failed ramp skating.
The architecture of skateboarding has evolved such that the diverse range of materials we have at our fingetips today, we are able to utilise whatever material we feel is appropriate for the particular purpose of our skating experience.
Thursday, October 1, 2009
Montage and Grid Layout
Montage of Skatepark Ideas
Ideas I intend to incorporate into the skatepark
Grid Layout
The blue represents major elements such as images and text.
The white represents unused space used to emphasise the separ
ate elements.
Devlopment of Reinvision
Ideas I intend to incorporate into the skatepark
Grid Layout
The blue represents major elements such as images and text.
The white represents unused space used to emphasise the separ
ate elements.Devlopment of Reinvision
Reinvisioning and Screenshots
I envision the Vitra Design Museum to be reconstructed as a revolutionary skatpark building. The first of it's kind. The interesting and multidirectional curves and the double-storey design create a landscape of possibilities that would be perfect for a skatepark that functions on more than one level with a dynamic like no other.
I would like to make various qurter-pipe installations on the wall interior and alter the functionality of other areas to accomodate for some more technical skateboarding involving handrails and funboxes. Around he edges of the building I would like to open up the upper sections of the wall to allow good airflow through the building with regular water bubblers and vending machines for refreshment.
Thursday, September 24, 2009
Guggenheim Museum Case Study
I chose the Guggenheim Museum for it's aesthetics. To me it stood out as a building of mystery and intrigue. Never before had I seen a building with such peculiar form. It was evocative and powerful. It stands on it's waterfront location boasting it's titanium exterior hidig what it within. Museums to begin with are mysterious due to their interesting contents, yet the Guggenheim Museum pushed that even further.
In my research I have found various articles an journals about the building. Some praising and other not so much. Due to the buildings iconic status and phenomenal success it is only natural that it be critiqued thouroughly. Aspects that have been critiqued more often are it's effect on he social and cultural history of t's location and it's effect on the overall image it poses to it's location to th ret of the world. "Situated prominently on the waterfront near the center of Bilbao, the building interrupts the life of the city, and is an insult to pedestrians who would like to use the space for anything other than gawking at the building" (http://www.pps.org/great_public_spaces/one?public_place_id=827). The author of the article goes on to critique Gehry's feelings towards the way the general public porject themselves when around his buildings. The impression I get is that the Guggenheim Museum, as much as is it supposed to draw people to the location as is it an icon of the city, it's suppresses it's interaction with the people it brings to it. The exterior of the building is cold and harsh, and it's peculiar shape is slightly daunting and unwelcoming. It rejects the physical interaction of the general public.
Other less cynical articles praise it for iconic value it holds in the city, bringing more tourists to the area. As a museum it plays a big part in portaying the local history and bringing the general public together in suh a manner.
It seems to me that the pros and cons of the building are extremely conflicting. The balance is somewhat questionable.
References:
http://upload.wikimedia.org/wikipedia/commons/7/76/GuggenheimBilbao.jpg
http://upload.wikimedia.org/wikipedia/commons/d/de/Guggenheim-bilbao-jan05.jpg
http://www.pps.org/great_public_spaces/one?public_place_id=827
Frank Gehry - Vitra Design Museum - 1990
Architect Frank Gehry designed The Vitra Design Museum which is located in Weil-am-Rhein, Germany and was completed in 1989. The style of this design was classified as expressionist modern.
The design museum houses temporary exhibitions on themes of furniture design, and the building makes a suitable host for them in keeping with the theme.
The geometry of the building does not feel contrived or particularly noticeable as you go around the exhibitions. From the outside it does feel both those things but it is at home among the other architectural showpieces that make up the Vitra site.
Gehry also built a more functional-looking production hall and a gatehouse for the close-by Vitra factory. Although Gehry used his trademark sculptural deconstructivist style for the museum building, he did not opt for his usual mix of materials, but limited himself to white plaster and a titanium-zinc alloy.
For the first time, he allowed curved forms to break up his more usual angular shapes. The sloping white forms appear to echo the Notre Dame du Haut chapel by Le Corbusier in Ronchamp, France, not far from Weil.
Following a major fire in 1981, the company Vitra has pursued a conscious approach to its own architecture, starting with the commission awarded to the English architect Nicholas Grimshaw to build a new factory hall. His high-tech architecture was seen as upholding the vision of Vitra as an enterprise synonymous with technical excellence
After completion of the first structure, he was assigned the task of developing a master plan for the Vitra grounds. This idea of "corporate identity architecture" was called into question, however, by the 1984 erection of the sculpture "Balancing Tools" by Claes Oldenburg and Coosje van Bruggen. It served as the trigger for an entirely new architectural concept: deliberately contrasting works of architecture were to confront one another and imbue the site with vitality and a distinctive identity. In keeping with this idea, Vitra commissioned a different architect for each building project. Such as Frank O. Gehry, for example, who designed the expressive main building of the Vitra Design Museum with its towers, ramps and cubes that was dedicated on 3 November 1989.
Vitra Design Museum is pleased to be able to offer guided architectural tours of the buildings by Gehry, Citterio, Grimshaw, Ando, Hadid and Siza on the Vitra grounds.
The Vitra Design Museum shows an exhibition of 100 select artefacts from its collection. It comprises items spanning the period from 1820 to the present day, including tables and desks, chairs and easy chairs, loungers and stools, landscaped interiors and storage units. These are subdivided into the six categories: TECHNOLOGY, CONSTRUCTION, DECOR, PROGRAMME, REDUCTION AND ORGANIC, thus highlighting recurring characteristics of the design evolution process.
Illustrating the development of industrial furniture manufacture often calls for a certain configuration of so-called "guideline objects". However, besides furniture which is superior as regards finish, state of repair or dissemination, the exhibition concept promises documentary appeal, with original drawings and sketches, patent specifications, aural and visual material plus the first sales and exhibition catalogues which have seldom or never been displayed.
An easy-to-follow cross-reference system brings out the many inter-relationships between the exhibits, leading the visitor through the display. The way in which the items are shown stimulates discussion and possibly even a revision of existing standpoint.
References:
http://en.wikipedia.org/wiki/Vitra_Design_Museum
http://www.galinsky.com/buildings/vitradesign/index.htm
http://www.greatbuildings.com/buildings/Vitra_Design_Museum.html
http://www.design-museum.de/vitra/architektur/index.php?sid=bea891fe0d95977c5c00a84e26dc3279&language=en
Thursday, September 17, 2009
Sunday, September 6, 2009
Thursday, August 27, 2009
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