Grand egyptian museum

May 9, 20130 likes365 views

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GRAND EGYPTIAN MUSEUM (2002)_ Hernan Díaz Alonso
Maria Sánchez Navarrete, Marina Rosselló Peña Composició III/T Jordi Oliveras G41

“Architecture of another kind” : estructura, funció i forma
• De bellesa, escala i proporció a fuidesa, flexibilitat i transformació
• Indeterminació dels límits com en el Barroc
• El disseny de la forma no és gratuït, prové dels usos, materials i els
recursos de producció.
“ I don’t oppose form… only form as a goal”
• Es trenca amb la caixa ortogonal de l’Estil Internacional
Space House, 1933 (J. Kiesler)
Càscara orgànica amb cantons arrodonits
que permet espais interiors més fluids
BCA Competition, Boston, Massachusetts

• Canvis en l’educació arquitectònica, en el software
arquitectònic i en la manera d’utilitzar la producció
tecnològica d’altres camps com l’animació
aeronàutica
• Innovació amb l’ús de l’alumini: permet formes
corbades i lliures

Lògica generativa Utilització de la tecnologia representació
informàtica com a medi de fabricació
manera de replantejar l’arq. a diferents escales

Transformació dinàmica
En altres àmbits com l’art (Paul Klee) o les matemàtiques,
el moviment cobra forma, actualment en l’arquitectura
també es pot representar aquest dinamisme gràcies a
l’evolució de la tecnologia

Inspiració imitant formes biològiques
• Forma ondulant (dunes) que imiten la natura d’Egipte
• L’estructura horitzontal asimètrica és molt complexa i vol
recordar als arbres i a la vegetació, ja que arriba profundament a
la sorra del desert

Estratègies de disseny morfogenètic
• Yuxtaposició entre les necessitats del programa i les rutes circulatòries
• La forma es basa en sentit figurat en la història cultural del lloc
• Lleis i formes interessants amb coherència del material utilitzat
“es dóna forma a lo informal”, Cecil Balmond

1- Forma: Muntanyes artificials Aquest tipus d’edifici pertany a un grup amb característiques similars com: són roques i pedres extretes del paisatge, monticles d terra...on la relació amb la naturalesa és “algo” dur i durable, és a dir, un marc de paisatge fix capaç de resistir el canvi urbà. 2- Una tàctica: presència de l’edifici en l’integració urbana El que més defineix l’edifici és la topografia i els seus habitants, que han adoptat les muntanyes com el seu emblema/icona. Una idea de paisatge arquitectònic que dona identitat a la ciutat. 3- La forma forta Són una sèrie de cossos geomètrics, dels quals la forma no prové d’un edifici existent i busquen la forma essencial que apareix com dominant i els diferencia dels altres. 4- Lògica de la planta Dins de les característiques proposades per Martin Steiner pensem que la planta segueix aquesta lògica de: constel•lacions, planta sense corredors i contorns plegats entre d’altres. 5- Interès per la pell Interès per la pell i els materials ordinaris, on la forma de l’edifici es recolza amb actituds tàctils i visuals. En aquest punt es produeix una ambigüitat, ja que des de l’exterior sembla una roca, però la sensació des de l’interior és de buit. 6- Estructura doble L’edifici senten com dos pells, l’exterior que és molt prima i permet llibertat per crear la forma exterior i el pas de llum cap a l’interior, i la membrana estructural de metall que separa l’interior de l’exterior.

Centre Nacional de Natació - Watercube , PTWmariasn1

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1.- PTW: Centre Nacional de Natació, Pekin 2008. (Watercube). Marina Rosselló Peña, Maria Sánchez Navarrete 2.- Conceptes principals: natura (espuma) + cultura (quadrat) 3.- Aigua/espuma = estructura + façana 4.- Quadrat = tradició en la cultura xinesa 5-6.- Gràfics descriptius del concepte per comprovar la funcionalitat. 7.- Estudi de la geometria 8.- Concepte de geometria del volum 9.- Estructura 10.- Imatges del conjunt 11.- Tecnologia i il·luminació 12.- Dualitat entre el Watercube i "el Nido": foc i aigua/ masculí i femení/ Yin i Yang 13.- Influències: Bubble highrise Berlin 2002, Chris Bosse (el disseny es justifica a través de sistemes naturals com corals, espuma, esquelets...Estructura i façana conformen unitat). 14.- Munich Olympic Stadium, Frei Otto ( explora la relació entre arquitectura i natura, amb estudis d'estructures especials basades en formes naturals). 15.- Montreal Expo 67 Dome, Buckminster Fuller 16.- Entrevista de Ethel Baraona Pohl a PTW Architects 17.- Crítica CNN

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Grand egyptian museum

1. GRAND EGYPTIAN MUSEUM (2002)_ Hernan Díaz Alonso Maria Sánchez Navarrete, Marina Rosselló Peña Composició III/T Jordi Oliveras G41

2. “Architecture of another kind” : estructura, funció i forma • De bellesa, escala i proporció a fuidesa, flexibilitat i transformació • Indeterminació dels límits com en el Barroc • El disseny de la forma no és gratuït, prové dels usos, materials i els recursos de producció. “ I don’t oppose form… only form as a goal” • Es trenca amb la caixa ortogonal de l’Estil Internacional Space House, 1933 (J. Kiesler) Càscara orgànica amb cantons arrodonits que permet espais interiors més fluids BCA Competition, Boston, Massachusetts

3. • Canvis en l’educació arquitectònica, en el software arquitectònic i en la manera d’utilitzar la producció tecnològica d’altres camps com l’animació aeronàutica • Innovació amb l’ús de l’alumini: permet formes corbades i lliures

4. Lògica generativa Utilització de la tecnologia representació informàtica com a medi de fabricació manera de replantejar l’arq. a diferents escales

5. Transformació dinàmica En altres àmbits com l’art (Paul Klee) o les matemàtiques, el moviment cobra forma, actualment en l’arquitectura també es pot representar aquest dinamisme gràcies a l’evolució de la tecnologia

6. Inspiració imitant formes biològiques • Forma ondulant (dunes) que imiten la natura d’Egipte • L’estructura horitzontal asimètrica és molt complexa i vol recordar als arbres i a la vegetació, ja que arriba profundament a la sorra del desert

7. Estratègies de disseny morfogenètic • Yuxtaposició entre les necessitats del programa i les rutes circulatòries • La forma es basa en sentit figurat en la història cultural del lloc • Lleis i formes interessants amb coherència del material utilitzat “es dóna forma a lo informal”, Cecil Balmond

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Grand egyptian museum

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