Arquitetura trOO

E já que temos aqui no F.O.R.O. uma 'galeria de arte', resolvi criar um tópico especialmente dedicado às grandes obras da arquitetura mundial.

Dando início aos trabalhos, eis um dos edifícios mais impressionantes em que até hoje já pus os olhos: a fábrica da Fiat em Lingotto (distrito de Turim), construída entre 1916 / 1923 a partir de um projeto do arquiteto Giacomo Mattè Trucco (aliás, a meu ver uma das figuras mais criminosamente subestimadas no âmbito da arquitetura moderna, se calhar por motivos políticos):








Lingotto is a district of Turin, Italy, but the name is most associated with the Lingotto building on the Via Nizza, which once was a huge car factory, constructed by Fiat. Built from 1916 and opened in 1923, the design (by young architect Mattè Trucco) was unusual in that it had five floors, with raw materials going in at the ground floor, and cars built on a line that went up through the building. Finished cars emerged at rooftop level, where there was a rooftop test track. It was the largest car factory in the world at that time. For its time, the Lingotto building was avante-garde, influential and impressive—Le Corbusier called it "one of the most impressive sights in industry", and "a guideline for town planning". 80 different models of car were produced there in its lifetime, including the famous Fiat Topolino of 1936.

The factory became outmoded in the 1970s and the decision was made to finally close it in 1982. The closure of the plant led to much public debate about its future, and how to recover from industrial decline in general. An architectural competition was held, which was eventually awarded to Renzo Piano, who envisioned an exciting public space for the city. The old factory was rebuilt into a modern complex, with concert halls, theatre, a convention centre, shopping arcades and a prestigious hotel. The work was completed in 1989.

The Lingotto building is featured extensively in the Alberto Lattuada film Mafioso (1962).

The original Lingotto rooftop test track can be seen briefly during the getaway sequence in the film The Italian Job (1969).

Lingotto is also the site of the Oval Lingotto, the speed skating venue for the 2006 Winter Olympics.

http://en.wikipedia.org/wiki/Lingotto

Aqui o Manifesto Futurista dell'architettura aerea (Marinetti, Mazzoni e Somenzi), onde a fábrica de Lingotto é referida como a "primeira invenção arquitetônica do futurismo":

http://rebel.net/~futurist/matte.htm

Illuminati stuff

Kamikaze escreveu:

fábrica da Fiat em Lingotto

leobarbosa escreveu:

Kamikaze escreveu:

fábrica da Fiat em Lingotto

E a pista de corrida na cobertura?

Kamikaze escreveu:

leobarbosa escreveu:

Kamikaze escreveu:

fábrica da Fiat em Lingotto

E a pista de corrida na cobertura?

Foda, tinha que ter etapa da F1 lá

Bah, seria dáááá ultimate carnage full mode ON

Kamikaze escreveu:

ultimate carnage full mode ON

ORA PORRA!!!!!

Casa da Música is a major concert hall space in Porto, Portugal which houses the cultural institution of the same name with its three orchestras Orchestra Nacional do Porto, Orchestra Barroca and Remix Ensemble. It was designed by the Dutch architect Rem Koolhaas with Office for Metropolitan Architecture and Arup-AFA, and was built as part of Porto's project for European Culture Capital in 2001 but was only finished in the first half of 2005 and immediately became an icon in the city. The Building engineers were Ove Arup - London together with Afassociados, Oporto.

Casa da Música was built just across from one of the main traffic and business centers of the city, Praça Mouzinho de Albuquerque , known as Rotunda da Boavista. The place where the building now sits used to be a holding place for the electric cars that ran in Porto. Although construction ran over four years over schedule and cost roughly €100M, the building process brought new engineering challenges in order to create its unusual configuration.

The building's design has been highly acclaimed worldwide. Nicolai Ouroussoff, architecture critic from the New York Times, classified it as the "most attractive project the architect Rem Koolhaas has ever built" and saying it's "a building whose intellectual ardor is matched by its sensual beauty". He also compares it to the "exuberant design" in Frank Gehry's Guggenheim Museum in Bilbao, Spain. "Only looking into the original aspect of the building, this is one of the most important concert halls built in the last 100 years". He compares it to the Walt Disney Concert Hall, in Los Angeles, and the Berliner Philharmonie.

Casa da Música has two main auditoriums, though many other areas of the building can very easily be adapted for concerts and other musical activity (workshops, educational activities, etc.):

*The large auditorium has an initial capacity of 1,238 people, but can vary according to the occasion.
*The small auditorium is tremendously flexible, and has no definite number in relation to the capacity. On average the room has capacity for 300 people sitting down, and 650 people standing, though these can drastically change depending on the size of the stage, its location, the arrangement of the chairs, the presence and size of sound and recording equipment, etc.
*The restaurant at the top of the building was opened far later than was originally planned. Functioning since August 2006, the restaurant's original planned capacity for 250 people was decreased to space for some 150.

http://en.wikipedia.org/wiki/Casa_da_M%C3%BAsica
http://www.casadamusica.com/

Lionel Richie escreveu:

Kamikaze escreveu:

ultimate carnage full mode ON

ORA PORRA!!!!!

Porra, isso deve ser sensacional, Gustavo, quando estive no Porto ainda não existia...

__________

Saindo agora da arquitetura contemporânea, eis aqui a assombrosa Catedral de La Sagrada Familia (1928), criação do catalão Antoni Gaudí, esse gênio incomparável das perspectivas arrojadas, dos ângulos impossíveis e das espirais estratosféricas em direção ao Infinito, em obra pejada de ressonâncias místicas:

Linda essa catedral mess...deve ser habitada por gárgulas

Schizoid escreveu:

Linda essa catedral mess...deve ser habitada por gárgulas

V bettá belivá...

E o mestre ? Um dos maiores gênios nascidos nesse país.

The Philips Pavilion





In 1956, preparations had begun for the 1958 World's Fair in Brussels. It was to be the first World's Fair held since the end of World War II, and the idea was to celebrate the rejuvenation of civilization from the destruction of the war.

The Philips electronics company had been forced to relocate from the Netherlands during the war. Having returned to their corporate headquarters, they had focused on developing new products in lighting, stereophonic audio, telephones, and other products. As the preparations for the fair approached, Philips grew concerned that they would be outshone by American booths that were planning to display the new color televisions. So they came up with the concept of not displaying commercial goods at all, but rather of putting together an international team consisting of an architect, an artist and a composer to create a pavilion displaying electronic technology in as many forms as possible, serving arts, culture, and the overall betterment of humankind.

Philips approached Le Corbusier was enthusiastic about the idea, replying:

"I will not make a pavilion for you but an Electronic Poem and a vessel containing the poem; light, color image, rhythm and sound joined together in an organic synthesis."

He was not concerned with the exterior design of the pavilion, and stipulated that he would be entirely responsible for the interior and therefore no other artist would be necessary.

As for the composer, Philips had in mind a number of headliners who could compose the music. Benjamin Britten or Aaron Copland seemed to have international reputations at the same level as Le Corbusier. But Le Corbusier, a dominating and powerful personality, insisted that Edgard Varèse was the only qualified composer for the project. When Philips expressed uncertainty with the idea, Le Corbusier made his own participation contingent upon Varèse acting as composer, and insisted that Varèse be given carte blanche to create whatever he saw fit. Despite Philips' desire to have a mainstream composer, Le Corbusier's presence was the overriding concern, as the company believed that his name was necessary to garner international attention.

At initial meetings, Le Corbusier gave a rough outline of the look and function of the event.

* The interior was to be shaped in a manner similar to the stomach of a cow, with the concept that audience members would enter in groups of 500 at ten-minute intervals.
* For two minutes, as the audience filed in through a curved passageway, they would hear a short transition piece. Then the room would go into darkness, and spectators, who remained standing, would then be subject to the interior music and lights for eight minutes.
* Colored lights, images, and film would be shown all around them. Music (organized sound) would be played over a huge array of speakers, surrounding and traversing the audience. At the close of the eight-minute piece, the spectators would exit, "digested," through another exit while the next group filed in.
* In this way, 20,000 visitors a day would be able to visit the pavilion over the five months of the fair. The project was to be managed by Le Corbusier's protege designer Iannis Xenakis, who would also create the transition music.
* Le Corbusier would provide the images to be projected during a 480 second multi-media event.
* No attempt would be made to synchronize the visuals with the music. Any correspondences that did occur would happy accidents, except for a specified moment of silence six minutes into the work.

Beyond this, Le Corbusier offered little in terms of specifics. As it turned out, the project did not go according to Philips' expectations on a number of areas. At the time, Le Corbusier was principally occupied with a mammoth project, building an entire city in Chandigargh, India. His participation was largely in absentia, with his ideas being broad and general. Specifics were few, and they typically came weeks or months behind schedule. The nuts and bolts were left to others, most particularly Xenakis, who was to design the exterior. Le Corbusier spoke in general of having a shape that was designed according to a mathematical function, but the actual design was left to Xenakis.

As for Varèse, this was the project he had been waiting for all his life. He was taken to a state of the art sound studio constructed by Philips for the project labs in Eindhoven, and given two technicians to do his bidding.

Xenakis wound up being the principal coordinator of the project over the two years of its realization, creating the exterior design, going over details with engineers, and coordinating the artistic team. His exterior design was that of a three-pronged tent, constructed with hyperbolic paraboloid shapes like those he used in his composition Metastaseis, and an idea that was in vogue with a number of designers and visual artists at the time. It would be constructed with a series of cables, over which a skin of concrete panels would be laid.

Toda a história no link: http://www.music.psu.edu/Faculty%20Pages/Ballora/INART55/philips.html

Outro link muito importante sobre a obra: http://pastiche.info/documents/philipspavilion58/toc.html

PQP é absurdo isso, o Niemeyer teria que fumar muita maconha pra bolar algo do gênero

Mick Travis escreveu:

Mick Travis escreveu:

E o mestre ? Um dos maiores gênios nascidos nesse país.

X INFINITO

Mick Travis escreveu:

E sempre recordando uma antológica declaração dele, concedida em entrevista ao Globo no ano passado:

Toda terça-feira, há cinco anos, o físico Luiz Alberto Oliveira vem falar de filosofia aqui. É muito útil. Ninguém quer ser intelectual, mas a gente fica com uma idéia do planeta, que está lá no fim da galáxia, longe de tudo. Isso dá a você uma idéia melhor da precariedade do ser humano, que é um fodido. Nasce, morre, como outro bicho qualquer, então por isso mesmo ele deve ser mais modesto, não pensar que é importante. O sujeito que pensa que é importante para mim é um débil mental.

Colonel_Kurtz escreveu:

Mick Travis escreveu:

E o mestre ? Um dos maiores gênios nascidos nesse país.

X INFINITO

Essa Expo. Universal de Bruxelas deve ter sido algo de transcendental, takjll... Xenakis, Varése, Le Corbusier, monstros sagrados d'uma era em que gigantes ainda caminhavam sobre a Terra!

O Museu Guggenhein de Bilbao, um dos projetos mais geniais da arquitetura contemporânea.

Retomando o tópico, eis aqui alguns croquis da Cittá Nuova (1914) concebida pelo arquiteto italiano Antonio Sant'Elia (1888 - 1916), um artista tão visionário e, portanto, tão estratosfericamente à frente de seu tempo, que a maior parte de seus projetos acabou ficando apenas na prancheta, tamanho o arrojo técnico de suas idéias e perspectivas: