Kristian Tagliavento
STUDIOAIR Architecture Design Studio 3: AIR ABPL30048 Semester 1 2012 University of Melbourne Bachelor of Environments Faculty of Architecture, Building and Planning
German Pavilion, Barcelona ARCHITECT: LUDWIG MIES VAN DER ROHE. 1929 Constructed to showcase the renaissance in German design at the International Exposition in Barcelona, the German Pavilion evokes what is essentially the cornerstone to the simplified ideal of 20th century Modernism. The simplicity in understanding and utilizing geometric forms and materials provides for the distribution of spaces for habitation and order - it therefore served a function. This very notion was to underpin the prevailing discourse of Modernism as an architectural and social style. “Architecture is formally defined as a conjunction of horizontal and vertical planes that serves both for a pavilion and a home� Mies understood his building as a inhabitable sculpture, working on from the formulaic grid system which had been used to achieve a sense of volume, weightlessness and openness through blurred spatial organisation and intuitive circulation - framed views would induce movement where the interior becomes exterior and the exterior become interior. source: www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/
Parc de la Villette, Paris ARCHITECT: BERNARD TSCHUMI. 1987 Evoking what is truly characterised as a Deconstructivist portrayal of urban life, Tschumi’s rendition of the Parc de la Villette in the French Capital is seen to be withdrawn from the normal, traditionalist mind-set that the French had been accustomed to in the decades leading into the urban rejuvenation experienced in the late 20th century. This was indeed conceived in stark contrast to Europe’s predisposed Modernism discourse - order, rationality and function. Tschumi succeeded in producing a fragmented, dystopian architecture that had been likened to the Soviet Constructivists of the early 20th century - manipulation of what is known to be architecture to form a controlled chaos. Tschumi’s overall goal was to induce exploration, movement and interaction...either quite literally or ambiguously. Therefore, Tschumi’s park was organised spatially to enable a user defined interactive experience within the context. source: www.archdaily.com/ 92321/ad-classics-parc-de-la-villette-bernard-tschumi/
The Yas Marina Hotel, Abu Dhabi ARCHITECT: ASYMPTOTE. 2009 Characterised by a curvilinear form, acting as a canopy constructed of steel with pivoting glass panels over the adjacent towers and connecting bridge structures, the Yas Marina Hotel embodies the aesthetics and forms associated with speed, movement, and spectacle to the artistry and geometries forming the basis of Islamic Art and Craft traditions. The notion underpinning this elaborate scheme is that of digital innovation which in turn informs the predisposed nature of contemporary architecture. The emergence of new digital methods, defining parameters in architecture has been seen to alter the general discourse informing architecture in the 21st century. This new practise has been utilised in the digital and technological fabrication of sculptural architecture. Understanding parameters as a discourse dictates a new awareness in the field of architecture - providing a tool for innovation, adapted to analyse and respond to both an environmental solution and the design intent without compromise to the performance of either criteria.
source: www.archdaily.com/ 43336/the-yas-hotel-asymptote/