Showing posts with label architecture. Show all posts
Showing posts with label architecture. Show all posts

Monday, 11 February 2013

Los Angeles

Getting there

From Ushuaia, I transited in El Calafate to reach Buenos Aires (5 hours) and then flew onwards to Los Angeles via Houston (9 hours). The flight from Ushuaia to Buenos Aires was delayed twice and I arrived at Buenos Aires 3 hours later than intended. Thankfully I still had enough time for a shower and some snacks before I boarded my next legs of flight. 
Sexy wing

The flight on the 787 Dreamliner from Houston to LA was great. I love the plane's sexy, curvy design, the windows (the guy next to me was also impressed when I showed him the dimmed window) and the huge toilet (which had a baby change table). Oh, they also got rid of the 'No smoking' sign!
No more 'No smoking' sign



With shades vs without shades
My luggage did not make it onto the Dreamliner unfortunately. I was told by the ground staff that it was on the next flight to LA, would arrive 45 minutes later and be delivered to my hotel. It arrived 12 hours later at my hotel. I was quite annoyed that I could not go out in fresh clothes and paint the town red. Boooo....


Los Angeles

Beverly Hills, LA Downtown, San Deigo Freeway, Santa Monica Hills


Los Angeles is one of those cities which I wish I had rented a car. The places of interests are very dispersed and the public transport systems are not really developed - which meant expensive taxi rides or walking for at least 1.5 hours. Outside Hollywood Boulevard, there were hardly anyone walking on the streets so I quite enjoyed the long walks when it was not too hot.



Beside visiting the usual touristy areas, I also caught up with Anne Marie at her bar. The driven young lady would be opening a barber/saloon the week after I left LA - do check it out if for me if you are in town --> https://www.facebook.com/SpeakeasyBarberSalon
Anne Marie
My favourite place in LA is the Getty Centre, which was set up by the J. Paul Getty Trust using funds bequeathed by Jean Paul Getty. A billionaire and avid art collector, Getty (1892 - 1976) "viewed art as a civilising influence in society and strongly believed in making art available to the public for its education and enjoyment". He opened the J. Paul Getty Museum in his ranch house in Malibu to the public in 1954. The Getty Centre was built after his death to accommodate the expanding art collections, where they remained free for viewing. (Source: www.getty.edu)
Getty Centre
Source: www.getty.edu
From the bottom of the hills, one has to go by picnic tables and a sculpture garden before getting to the tram station. The tram ride, which offers views of Beverly Hills as a tram brings guests to the top of Santa Monica hills, is the only way to access the Getty Centre.
Picnic area 
Bronze Form (1985) by Henry Moore
From the tram stop on top of the hill, one could visit the art exhibitions or check out its renowned architecture or the gardens.

The J. Paul Getty Museum exhibits pre-20th-century European art works (the most famous of which is probably Vincent van Gogh's Irises which he painted while recuperating from a severe attack of mental illness) and 19th- and 20th-century American and European photographs. Contemporary and modern sculptures litter the grounds.
Irises (1889) by Vincent van Gogh
American architect Richard Meier's works, however, were what attracted me to visit the Getty. It had taken more than 12 years (1984 - 1997) to build the Getty Centre. Meier would sit on one of the hills to conceptualise/visualise his work on the sprawling 110 acres (4,791,000 square feet) site. From the end product, I think Meier was awarded the project because he understood that this was going to be more than a museum, that just as importantly, it would be a privately-owned public space. 
I also need a job that allows me to sit on a hill to ponder

Meier faced several challenges - there were 2 ridges on the site, zoning restrictions such as the limitation of above ground height to 2-storey and that his favourite white cannot be used on the exterior of the buildings. Consequently, the buildings were designed along the ridges and mostly underground. Beige Italian travertine, metal claddings and large panels of glass were chosen as the basic materials of the buildings. Travertine was chosen because it "expresses the qualities that the Getty celebrates: permanence, solidity, simplicity, warmth, and craftsmanship". The claddings were used to impart "a feeling of permanence" and also to link the ridges to the buildings. Glass allows in natural light and and I think, create an airy and less stifling ambience.  (Sources: www.getty.edu and www.richardmeier.com) 
Fossilised leaf in travertine
Meier's choice of materials reminded me remotely of his other museum building - Barcelona Museum of Contemporary Art. The beige travertine, however, gives the Getty Centre a warmer, welcoming atmosphere, making the space feel more readily accessible to the public. When you are there, look out for the fossilised leaves, branches and feathers that can be found on the surface of the travertine - I thought they give the stones more character.
From the different corners of the grounds, one could spy on the Beverly Hills mansions, catch glimpses of the San Gabriel Mountains behind the LA city, view the sunset on the Pacific Ocean or simply look into the Getty's Central Garden.
LA city and San Gabriel Mountains
Pacific Ocean
The 134,000 square feet Central Garden, another draw of the Getty, was planned by Robert Irwin, an American installation artist, in 1992. Using more than 500 plant materials, with new plants added to the mix since opening, Irwin wanted to provide an "always changing, never twice the same" feel. 

I like it how everything (from the access to the entry, audio guide, special exhibits etc) is free at the museum. Not only does it have free daily educational tours on its collections, it also has free daily architecture and garden tours. The museum also comes across as very thoughtful, with clipboards provided for visiting students and umbrellas for the sun/rain.
The elements are integral and the site is just like a gigantic flower pot, with beautiful plants and buildings sprouting. I lost track of time and relished the serenity and beauty.







Monday, 3 September 2012

Biennale Architettura 2012 : Common Ground



Biennale Architettura

The Venice Biennale made its debut in 1895, with International Art Exhibition. In the 1930s new festivals were born: Music, Cinema, and Theatre. In 1980, the first architecture exhibition took place and subsequently, the dance festival began in 1999. This year's Architecture Biennale consists of 119 participants invited by the artistic director and complemented by 55 countries. 


Artistic Director

The artistic director of Venice's 2012 Architecture Biennale is David Chipperfield. He had worked in the practices of Richard Rogers and Norman Fosters. He now has his own practice and is also a Visiting Professor of Architectural Design at Yale University. (Source: http://www.labiennale.org/en/architecture/director/) His works include BBC Scotland at Pacific Quay and Berlin's Neues Museum (for which he won European Union Prize for Contemporary Architecture – Mies van der Rohe Award in 2011).


Theme

This year's theme is 'Common Ground' and aims to "illustrate common and shared ideas that form the basis of an architectural culture". Chipperfield hopes to highlight the "concerns of continuity, context and memory, towards shared influences and expectations, and to address the apparent lack of understanding that exists between the profession and society." At the same time, Chipperfield does not want to focus only on starchitects and instead wants to show the collaboration between "the many stakeholders and participants in the process of building" and to find "shared ideas from our individual positions of difference." (Source: http://www.labiennale.org/en/architecture/exhibition/chipperfield/)

In the pavilions, there are exhibits on construction site as a common ground of diverging interests and exhibits which show the collaborations between 5 generations of architects, teachers and students, architects and professionals of other mediums.


Singapore Pavilion

It is not here! I had written to SIA earlier to volunteer for 1 month at the Singapore Pavilion. To my disappointment, SIA's executive director, Mr Ong Chin Cheow (kindly) informed me that the institute would not be taking part this year. 


My favourite exhibits

I managed to visit the pavilions in both Arsenale and Gardini, the Hong Kong and Taiwan pavilions (in the same spots as they were previously) on the first 2 days they opened to the public. The pro of attending the exhibition so early are - the exhibits still look new (and not manhandled by the public) and there were theatrical and music performances that only take place on the initial days. The cons are - it is still too hot in summer and some of the video installations are not ready. Nonetheless, it was, as usual, slightly overwhelming, sometimes incomprehensible and mostly, so much to learn.

Zaha Hadid Architects/ Patrik Schumacher
For me, they have the most fascinating exhibits. It is not because it is Hadid's works but because it shows the researches behind the designs. 

A gigantic floral metallic structure greets the visitors as they enter the hall. This installation is called Arum (a type of flower), which Chipperfield had requested Hadid to showcase. Next to Arum are shell-like roof models. Arum reminds me of Gaudi while the models of Arum reminds me of origami.

Arum


Arum paper study model
Arum is meant to be "a line of continuity with the great masters of thin shell and tensile structures like Felix Candela and Heinz Isler". If you look closely, Arum is far from being a "finalised" product. It is, however, still impressive.


Roof shell models
Studies on shells

Both Arum and the shell roofs are results from studies on shells. The studies on shells made by Hadid's students at Vienna's Institute of Architecture are proudly on display. 

Shell roof model
At the same time, there are videos on BLOCK Research Group's study on the forces on the shell roofs and how Arum was produced and installed - collaborations that made everything possible.
Seen in Il giornale dell' Architettura (they actually put these in print?! - phwahahahahaha): 

O'Donnell and Tuomey - Vessel

In creating "Vessel" for the biennale, Sheila O'Donnell and John Tuomey tries to find a common ground between poetry, art and architecture. They also want the large scale model to make reference to the brick walls of the Arsenale, the exhibition venue.




Eisenman Architects/ Dogma/ Jeffrey Kipnis/ Ohio State University Knowlton School of Architecture/ Yale University School of Architecture - The Piranesi variations
4 teams use Piranesi's Campo Marzio drawing as a basis, reinterpret and re-imagine and come up with new models. I like Ohio State University Knowlton School of Architecture for their model, which resembles a still video game.

Can you see the similarities between Ohio State U's model and Yale's model?

Gort Scott/ Robert McKillop/ Renzo Piano Building Workshop - London Streets and Skies
The common ground is the Shard. McKillop's film shows the Shard, the highest building in Europe, dominating the skyline - at times on its own and at times, with the other controversial building, the Gerkhin. Scott, on the other hand, sketches the high street at the foot of the Shard. I love the details in her perspectives.

Herzog & de Meuron - Elbphiharmonie

In 2001, the vision for a new concert hall to be built on top of an existing warehouse, Kaispeicher A, was introduced. In this exhibit, Herzog & de Meuron presents large scale models and newspaper cuttings that document the conflicts between the owner, contractor and architects since the first announcement. This topic is close to work and just too amusing to me, as an outsider, as the drama unfolds and the project is now slated to complete in 2015. (Boy, aren't they honest!)





Norman Foster/ Andreas Gursky/ Ben Johnson/ John Nye/ Marisa González/ Elena Ochoa Foster/ Antonio Sanz/ Katy Harris/ Spencer de Gray - Hongkong and Shanghai Bank HQ
The room shows early sketches of the HSBC Bank Building, a model, videos by González on the Filipono maids who share the building on weekends and paintings by Johnson. Again, this topic strikes a cord as Hong Kong is my third home and the story of the Filipinas' rest days in foreign countries are familiar.
Details Details!



Other noteworthy exhibits

Australia - Formations: New Practices in Australian Architecture



Ateliers Jean Nouvel/ Mia Hägg/ Habiter Autrement - Meeting lines 
An entry which did not win a master planning competition in Slussen. The proposal hoped to turn the bridges into public grounds. The pink bridge, for example, has 3 levels: shops, restaurants and terraces on the upper level, roads on the mid-level and pedestrian pathway and bicycle lane on the lower level. 
Argentina - Argentina: identidad en la diversidad
Illustration by Miguel Rep
Norman Foster/ Carlos Carcas/ Charles Sandison/ Fernando Pocostales/ Elena Ochoa Foster/ Antonio Sanz/ Katy Harris/ Spencer de Gray - Gateway
Il giornale dell' Architettura calls this the "most obnoxious" exhibit - you be the judge:

"Fun" exhibits

Spain - SPAINLab

Cyprus - REVISIT - customizing tourism

Haworth Tompkins - Inhabitable models
The paintings were borrowed from Young Vic Theatre, London
Others

There are simply too many exhibits to incorporate into this entry - those of Álvaro Siza (who has won the Golden Lion for Lifetime Achievement at the Biennale Architettura this year), Grafton Architects (who won the Silver Lion this year), Kazuyo Sejima (Biennale Architettura 2010's artistic director), Toyo Ito, Luigi Snoozi, Candida Höfer, Armin Linke, nameless students from the 40,000 hours project...

Whatever the case, if you so visit the exhibitions in Arsenale, do not miss out the (probably) highest insured item in the whole exhibition that has its own bodyguard:
Giacometti's Femme de Venise VIII