Montage

Changes to the building

My view of the Vitra Design Museum abstract and very geometric. My main focus is to change the experience and interaction people have with this building. I am reinventing the function of the building by changing both the structure and the materials. I have used Peter Eisenman's Miller house for my inspiration for the structual changes. Cutting a slit through areas of the house, experimenting with the changed interaction with the house. Also beneath the house i have decided to also run a narrow river. In order to change the structure of this building i will also need to change the materials, to support these changes. Currently the building mainly consists of white walls and concrete. I have decided to incorporate a wood structure into my building to change the mood within thid building.

Interior & Exterior comparisons

Research: Combined

http://www.egodesign.ca/_files/articles/blocks/9463_vitra_design_museum_weil_am_rhein_frank_o._gehry.jpg

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The Vitra Furniture Museum and Factory was built between 1987-1989 in Weil am Rhein in Germany. The overall design comprises of three different parts; the furniture assembly plant, the museum to house furniture collection, and the master plan of the site. What we are focusing on is the small museum. The museum includes a library, office, storage/support and exhibition space. The construction is smooth white plaster over masonary on vertical and inverted surfaces and titanium- zinc roofing panels on sloped water shielding surfaces. It is distorted but pristine painted concrete cubes. The forms appear as though they were brought together collision.The clients asked from Gehry a unified plan for a factory and museum which departed from disparate layering of geometries and informal materials common to Gehry's southern sculptural buildings. This is proved by the use of the curve in Vitra which breaks up the angularity of Gehry's previous structures. The baroque areas and gentle spirals simply collective movement responding to the dynamic nature of the manufacturing center.The sloping plaster and stucco forms resemble that of Le Corbusier Notre-Dame-du-Haut (seen below) which is in nearby Ronchamp, France. The Zinc rooftops blend in with Nicholas Grimshaw's already present factory on site which features aluminum cladding.Inside the spaces are connected volumes that spatially overlap through-out the entire building. Even though these spaces are interconnected each separate space has its own character according to the light, volume, surface and scale.

References:

Ragheb, J.Fiona. Frank Gehry, Architect. J. Fiona Ragheb, Editor. Guggenheim Museum Publication, New York 2001.

Fialova, Irena. Frank Gehry Vlado Milunic Dancing Building. Zlaty Rez, Prague 2003.

Image Sourced From:
http://comps.fotosearch.com/comp/STK/STK015/dancing-building-frank_~CWE3816.jpg

Combined research by Alison, Nissa & Cam

Case Study: Festival Disney, Dinseyland Paris. Frank Gehry, 1992.

"I had my own language, and because this project, I suppose, grew out of my body of work, it was sort of recognizable; it had its own sensibility. So it was complete and compact." - Frank Gehry interview

"What they wanted to do was pretty straight forward and honest. They wanted it to be specially lit and to deal ith the french skies which are mostly grey in winter. They wanted to do something that would light up this place, starting at 4p.m., and make it come to life. That's when I did the colonnade with the stainless steel and the light. The only pieces I took from theming was when we started the project, when somebody talked about the railroad and whether Festival Disney could have something to do with the history of the area and relate to the railroad. The railroad sounded interesting to me because so much passion is evoked in going to stations...That, for me, was the essance of Walk Disney...I decided to make the colonnade of Festival Disney perpendicular to the station, to the tracks. Its almost as though my row of columns was the residue of some old power station that related to the railroad. That's how I hooked into it. "- Frank Gehry interview

"He had been strongly influenced by artists...often preferred buildings in an incomplete state of construction to the finished products"

Image & Text reference:

Edited by Karal Ann Marling, Designing Disney’s theme parks : the architecture of reassurance. Flammarion 1997, Pages 209-213

Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A world history of architecture. 2003

Sketchup Model

Interactive PDF

PDF

Poster & Lasercut: Final Submission

Digital Poster:













Sectional Cut:



















Sectional Cut on Poster:

Dwelling: Final