الواجب التاسع
عبدالرحمن محمد جوده الرقم الجامعي 1323615
The Eden Project Cornwall, UK The Eden Project endeavours to recognise our country’s heritage of plant exploration while simultaneously looking to the future. Key to The Eden Project’s success is Grimshaw’s transformation of a place of relative anonymity into a truly multi-functional site with visitor experience at its core. One of the primary environmental strengths of The Eden Project is to consider what it replaces. Previously, the site was a china clay pit and was still being excavated during the design phase. The strategy of replacing an almost uninhabitable clay pit with a new natural habitat is perhaps in principle the biggest environmental success of Eden Project. Situated in a 15-hectare landscaped site, it is an excellent example of successful place-making. The Eden Project has created its own unique culture comprising performance, educational and artistic spaces which extends far beyond the site itself. The Project currently employs around 600 permanent staff, 95% of whom were recruited locally and 75% of whom were previously unemployed. The project has four completed phases to date. The fifth phase, The Edge, has its roots in the original ambition to have a Biome that focuses on the desert regions of the world.
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The Eden Project Cornwall, UK
Arts and Culture Projects Eden Project: The Eden Project: The Visitor’s Centre Cornwall, UK Grimshaw’s first phase of The Eden Project was the development of the Visitors’ Centre, which is built on the apex of the 15-hectare site. The centre is known as the 'Gateway to Eden' and houses ticketing halls, shops, restrooms and educational galleries. The Visitors’ Centre introduces the aims and objectives of The Eden Project, not only through its multimedia educational exhibits but also through its own sustainable credentials as a building. It is a working showcase for methods of building with low impact on the environment: green roofing; gabion walling; rammed earth construction and timber cladding. The environmentally-driven design was completed in advance of the contract delivery date, and on budget. It opened to the public on 16 May 2000. During the following year, it attracted almost 1,000,000 visitors to its showcase ‘Big Build’, which afforded visitors a view of the construction of the Humid Tropics and Warm Temperate biomes from its panoramic galleries and viewing platform.
Arts and Culture Projects Eden Project: The Eden Project: The Visitor’s Centre
The cultural center is situated on a narrow strip of land surrounded by the ocean and lots of lush vegetation. Ten pavilions of various sizes ranging in height between 9 and 24 meters high are situated asymmetrically along a main path. Each pavilion serves a various function or evokes certain themes and includes permanent or temporary exhibitions. Some contain studios for traditional activities, such as music, dance, painting and sculpture. Also housed at the center is an auditorium, an amphitheater, the administrative departments, research areas, a conference room and a library. The pavilions themselves were inspired by traditional Kanak huts, but were not copied exactly – they’re more of a modern take on the traditional architecture. Built from iroko wood as well as glass, steel, and bamboo, they respect traditional construction methods according to the most sophisticated engineering studies. Operable roof skylights and a screen of laminated wood facilitate natural ventilation using the wind to push hot air out of the top, while a bamboo wall filters light into the interior.
Parc Balearic Information Technology (ParcBIT) is an initiative by the Balearic Government, as part of the ExpoCities Project under the European Union Thermie Programme, to generate a new approach to living and working environments. Drivers of the scheme are the provision of leading edge telecommunications links, a modern, sustainable and efficient infrastructure, and a high quality built environment. After winning an international competition in 1994, the practice was commissioned to plan a mixed use live/work community for some 5,000 inhabitants on a site that lies 12 km north of Palma. Located on agricultural land next to Mallorca’s university campus, ParcBIT, is bounded to the east and west by development but by open country to the north. An existing Finca (farm house) which is preserved in the new plan is sited on the prow of the ridge in the centre of the site, between two torrent valleys which take water run-off from the mountains to the sea.
Responding to the client’s manifesto, the proposal is highly sustainable, implementing systems that balance the cycle of supply and demand within the community. The scheme can also be ‘read’ as a physical manifestation of the age of telematics ParcBit recognises that work location is no longer defined by historic centres of occupation but will increasingly be determined by key issues such as the quality of life and the environment. The scheme is deferential to the existing terrain, recognising that landscape is the collective memory of a culture. The new development complements rather than compromises the landscape and its local ecology - the existing topography has played a significant role in the definition of built form and circulation patterns, with buildings located on the terraces which wrap around the Finca and the ridge, following the contours of the land. In addition the scheme gives clear priority to a pedestrian environment, with parking contained at the perimeter of the site. ParcBIT reduces water use while providing a landscape which benefits both people and local ecology - tertiary treated water is used for irrigation. The masterplan’s energy system ensures a high level of comfort in buildings while minimising environmental impact and carbon dioxide emissions. It does this through a highefficiency central CHCP plant which incorporates an innovative approach to the integration of renewable solar energy. “Our masterplan was generated by careful analysis of the site and landscape. The plan is designed to preserve native landscape features and to maintain the site's ecological value.” Lennart Grut
The Master plan of Majorca
High in the hills overlooking Los Angeles, The Getty Centre offers a commanding view. “Yeah, on a clear day you can see smog forever,” says a droll Angelino as he stares into the blue-grey gauze which lies lightly over his city on this typically perfect, dry day. That said the Getty, as it is commonly known and which opened 18 months ago, is beautifully appointed on a 46ha site above the San Diego Freeway in Brentwood. It looks from the Pacific Ocean and across the greater Los Angeles area in one direction, and to the Santa Monica Mountains in another. Little wonder Angelinos sometimes come here to simply wander through the gardens -- designed by Robert Irwin -- and have lunch in the sun with the busy world far beneath their sight-lines. Up here it’s sky above and world below -- and art all around. Built for about $NZ1.75 billion, the Getty art museum has seen more that two million visitors since its opening in December 1997. And oddly in this city of the automobile, the carpark allows for only 700 vehicles so it pays to book ahead. The many visitors who arrive by bus or taxi -- or on skateboards or in-line skates, because this is Los Angeles after all -- don’t need reservations.
Knight rightly noted that Seurat is internationally regarded as one of the finest by the French pointillist Impressionist. This painting was the perfect and necessary counterpoint to the Getty’s Entry of Christ into Brussels in 1889 by James Ensor, a powerful Expressionist work the museum snapped up a little over l0 years ago. The Seurat, however, is now in Steve Wynn’s collection in his Las Vegas casino, Bellagio. He picked it up for a tidy $NZ70 million. The Getty says it considered bidding for it, but determined it wasn’t a good enough example of the artist’s work -- a breathtaking assertion. Knight suggests the museum’s running costs (“a voracious money pit") meant it simply didn’t have the readies for such a major purchase. In a front-page Times article Knight noted that while the museum was bolstered by a trust with an annual endowment of $NZ10 billion, there were