ABPL30041 Construction Design _2012_SM1 by student Jiaying Le(387099)
Georges Pompidou Center Paris 1977
Sainsbury Center for Visual Arts Norwich1978
The architects of Pompidou Center sought to create centers that could appeal to everyone. However, initially, the Pompidou Center was bombarded with negative press during construction process, although coverage in the New York Times was positive. Things changed once it became apparent that the public embraced it as a new icon for the city.
t was a typical phenomenon how journalist and critics could fail to appreciate the essence of architecture by judging it as a piece of art. They expected to be revealed a conservative work merging into the existing urban context, but fortunately shocked by such a revolutionized building with skeleton construction. The media changed overnight the day people poured in the Pompidou center. Its flexible and multifunctional design aiming at different groups of people’s experience (including children, tourists and locals, students and workers, users and passersby) established a vibrant public meeting place which actually turned the “streets and squares surrounded into dynamic rooms without roof.” Reference List: - The work of the Pritzker prize laureates in their own words P48-49 -http://www.phaidon.com/agenda/architecture/picture-galleries/2010/april/08/renzo-piano-building-workshop/?idx=2 - http://www.centrepompidouparis.com/ - http://www.phaidon.com/agenda/architecture/picture-galleries/2010/april/08/renzo-piano-building-
Sainsbury Center for Visual Arts’ social and technological, strategic and tactical detail design irritates certain critics because it upsets their tidy categorizations and ‘ism’ .
rom the outside the Sainsbury Center looks nothing but a regular box giving a strong warehouse feeling. Structure, skin, lighting, and engineering services were integrated into a doubled-layered wall and roof. Without people’s engagement. The social gains are achieved by grouping all the diverse activities - public and private, teaching and viewing -under a single roof. The gallery would be teaching space and public space in the morning and afternoon respectively, making it a true dynamic space by the engagement of people. The room feels serene when it was a classroom and warms up when it was a exhibition space, which could only be experienced and created by people who use the space.
Reference List: - The work of the Pritzker prize laureates in their own words, p146 - http://www.panoramio.com/photo/42069057 - http://blogginginparis.com/2008/05/20/visiting-the-sainsbury-centre-for-visual-arts/ - http://abduzeedo.com/architect-day-sir-norman-foster
visual culture personal art design from â€˜HATâ€™ project in virtual
rchitecture as art is in many repects the default mode of architectural discourse. in this mode, we are led to think about buildings as individual works of art. The idea of architecture as art has been manifest in various ways. Headpiece design might be one of them. My model from Virtual Environments can be considered as a unique expression of a single creative mind. Mainly, we took every steps from modules of engender, digitise and elaborate, and finally fabricated in the progress of making the headpieces throughout the semester. The aim of the whole process was not only to manufacture the model, but the most critical thing is to master the techniques of real material and computer modelling such as elaborations and rationalisations. This art practice may consider advancing architectural discourse. The field of visual culture as an approach may `have the most of offer in our understanding of architecture.