martes, 15 de marzo de 2011

Research part A

Santiago Calatrava
Lyon-Satolas TGV Station
Lyon, France





Renzo Piano 
Zentrum Paul Klee
Bern, Switzerland




Zaha Hadid
Vitra Fire Station
Weil am Rhein, Germany 


Factory environment constructed by the theory of defining space rather than occupying space.
The building is a long, narrow building alongside the street which marks the edge of the factory site, and which also functions as a screening device against the bordering buildings.

The space-defining and screening functions of the building were the point of departure for the development of the architectural concept: a linear, layered series of walls. The building is hermetic from a frontal reading, revealing the interiors only from a perpendicular viewpoint.


The entire building is freezing motion. 
This expresses the tension of being on the alert, and the potential to explode into action at any time. 
The walls seem to glide past each other, while large sliding doors are literally a moving wall.
The partition is minimized, articulating the spaces with three longitudinal stainless steel cabinets that separate the transparent area of the service area.

Structure
Blades or wedges are concrete walls and roof pitch in new directions give a strong sense of the dynamism of this reinforced concrete structure was created based on walls, in spaces arise.

Materials
The whole building is constructed with reinforced concrete in situ in the light, avoiding any added that distort the simplicity of its prismatic form and the abstract quality of the architectural concept, paying particular attention to the sharpness of the edges.
The lack of detail was also applied on the inside, rough opening frames, polished aluminum sliding planes that close the garage area, guard rails or lighting design, maintaining a consistent language that gives meaning to the whole.



martes, 8 de marzo de 2011

Eero Aarnio

Eero Aarnio, was born in 1932 in Finland, he, is one of the great innovators of modern furniture design. The first designs of Eero Aarnio, followed the Finnish tradition of using mainly natural materials for designs such as "Jattujakkare a basket chair. In the 1960s, he started experimenting with the new plastic material such as fiber glass. In his designs we can see that he goes beyond the conventional forms for objects instead he likes to use a more organic forms.

It's actually interesting that one of his most famous designs was made actually for himself, because he needed a chair in his new home. And now that chair, the "Ball Chair"  is exhibited in museums and has become part of history and most important as an emblematic piece of furniture in the 60s.

The "Ball chair" is a globular seating shell of plastic reinforced with glass fiber attached to a narrow base with a wide bottom and a round opening in the front, through one can look around while seated on the inside. The sphere mutes all sounds heard outside but amplifies the sounds inside. The chair provides anyone seating a sense of protective and private space.

The process of making that chair included, using an inside mould, which has been made using the same principle as glider fuselage; covering the plywood body mould with wet paper and laminated the surface with fiberglass, rubbed down the outside, remove the mould from inside, had it upholstered and finally added the leg.
another iconic creations include the Pastil (1968), and the Bubble (1968) which are a great expression of what was going on in the sixties with the pop culture and the spirit of the time. The use of plastic permits the designer to freely create any form and also enables you to use any color that you want into your design which also represents the culture of that time.
Although in the 1960s and the 1960s there was the throwaway ethic, Eero Aarnio detested it and he remained true to the Scandinavian tradition of quality and durability. Even though his preferred materials were plastic and fiberglass, but he also uses wood and steel.