Dilahirkan pada 1910 di finiland dan meningal pada 1961. Bepindah ke USA pada 1923 dan dalam 1929 memasuki akademi De La Grande Chaumiere., Paris untuk mempelajari ukiran. Setelah itu mempelajari SENIBINA di Yale University. Ayahnya merupakan akitek terkenal. Pada 1937, Eero bekerja bersama ayahnya. Beliau bersama J. Robert Swanson banyak terlibat dalam pembuatan perabot.
Pada 1948 ayahnya merekabentuk General Motors Technical Center di Michigan. Eero terlibat dalam rekabentuk dalaman dan perabot bangunan tersebut. Bangunan tersebut terdiri daripada 5 bangunan yang disusun mengelilingi kolam. Terdapat satu “tall stainless-steel water tower and domed auditorium. Struktur bangunan terdiri daripada prefabricated unit yang disokong oleh Curtain wall. Permukaan metal panes yang berkilat menampakkan pengunaan bahan binaan yang baru.
Antara bangunan yang terkemuka yang beliau reka adalah:
Kresge Auditorium ( Eero Saarinen)
Pada 1950 ayahnya meninggal dunia. Eero memulakan kerjayanya secara persendirian di Birmingham, Michigan. Pada 1953 auditorium di Massachusetts menampakkan pendekatan teknologi dan rupabentuk. Mengunakan curtain glass dan shell shaped. Strukturnya amat mengkagumkan dengan penyambungan kepada tiga points sahaja.
Trans World Airlines Terminal
Pada 1956, Trans World Airlines Terminal ( Airport ) dibina. Strukturnya lebih dinamik yang menampakkan form and function of the building.
Dulles International Airport
Satu lagi Terminal Building dibina di Dulles International Airport. Bumbung yang disokong oleh tiang besar amat mengkagumkan. Mengunakan dinding kaca.
The John Deere & Co. Headquaters
The John Deere & Co. Headquaters merupakan bangunan yang terakhir direkabentuk oleh Eero. Bangunan tersebut menampakkan gabungan bahan dan struktur bagunan tersebut. Merupakan steel building lapan tingkat. Beliau merupakan seorang modernist. Banyak mengunakan glass, steel dan concrete.
saya meminati beliau kerana kebanyakkan konsep bangunan beliau adalah "futuristic" . Dan beliau juga mengekalkan kehijauan bagi reka bentuk bangunan beliau. beliau juga mengeluarkan idea atau rekaan yang hampir mustahil dan juga idea-idea baru di perkenalkan contohnya bangunan mega iaitu LILYPAD yang di bina atas lautan, dan saya meminati hasil tersebut dan ingin menjadi contoh rekaan bangunan saya.
CURRICULUM VITAE Name : Vincent Callebaut Architect
Born : in 1977 Nationality : Belgian Diploma : in 2000 awarded with René Serrure First Prize at ISAIVH Address France : 119, rue Manin, 75019 Paris Address Belgium : 26, rue André Renard, 7110 la Louvière (H-G) Email : vincent@callebaut.org Website : http://www.vincent.callebaut.org/
BIOGRAPHY
In 2000, Vincent Callebaut, 23 years old, graduated with the Great Architecture Prize René Serrure awarding the best diploma project at the Institute Victor Horta in Brussels for its Parisian project « Metamuseum of Arts and Civilisations » Quay Branly. Then, thanks to the bursary Leonardo da Vinci attributed by the European Community, he decided to live in Paris to extend its critical thinking and its spatial inventiveness during two years of internship in agencies that fascinate him (Odile Decq Benoit Cornette Architectes Urbanistes, Massimiliano Fuksas).
In 2001, he competed in box and won the Grand Architecture Prize Napoléon Godecharle of the Académie Royale des Beaux-Arts of Brussels awarding the best hope of the Belgian architecture with its ecological project « Elasticity, an aquatic city of 50 000 inhabitants entirely autonomous». The jury appreciated at the same time « his dynamism, his expression force and the coherence of his concept » and recognised « a personality endowed with a remarkable aptitude giving well-founded expectations of great success and able thus to contribute to the fact that reputation of Belgium becomes a truth ».In 2005, he was the finalist of the RE-New Architecture Pleasures awarding the 12 best figures of the Architecture in the French Community of Belgium. During the same year, the Edition Company Damdi of Seoul dedicated him at the age of 28 its first architecture monograph detailing the story of its awarded and exhibited projects during worldwide spontaneous proposals and international competitions.
Since then, in the framework of his agency and great collaborations (Jakob+MacFarlane, Claude Vasconi, Jacques Rougerie), he militates continuously for the long lasting development of the new Ecopolis via «parasitical» strategies for an investigation architecture mixing biology to information and communication technologies >From New York to Hong Kong crossing Brussels and Paris, Vincent Callebaut proposes with determination and conviction prospective and ecological projects by insufflating locally dialogs and meetings that try to raise our questionings on the society in which we live as citizen of a global world!
PROJECT
LILYPAD , A Floating Ecopolis for Ecological Refugees
It's common knowledge that the planet is warming, ice caps are melting, and water levels are rising. The international scientific community predicts that a temperature elevation of 1°C will lead to a water rise of 1 meter, resulting in massive land loss and the displacement of millions of people world wide. Vincent Callebaut, a visionary Belgian architect, is responding to this inevitability with his proposal LILYPAD, A Floating Ecopolis for Ecological Refugees.
LILYPAD is a true amphibian - half aquatic and half terrestrial city - able to accommodate 50,000 inhabitants and inviting the biodiversity to develop its fauna and flora around a central lagoon of soft water collecting and purifying the rain waters. This artificial lagoon is entirely immersed, ballasting the city. It enables inhabitants to live in the heart of the sub aquatic depths. The multi functional program is based on three marinas and three mountains dedicated to work, shopping and entertainment. The whole set is covered by a stratum of planted housing in suspended gardens and crossed by a network of streets and alleyways with organic outline. The goal is to create a harmonious coexistence of humans and nature, exploring new modes of cross-cultural aquatic living.
thanz pada semua pensyarah seni bina dan pelajar dsb 6
yang telah menyokong projek kami....
thanz.........
Wednesday, October 22, 2008
Alvar Aalto (1898-1976) is considered a modern architect, yet his work exhibits a carefully crafted balance of intricate and complex forms, spaces, and elements, and reveals a traditionalism rooted in the cultural heritage and physical environment of Finland. Over the course of his 50-year career, Alvar Aalto, unlike a number of his contemporaries, did not rely on modernism's fondness for industrialized processes as a compositional technique, but forged an architecture influenced by a broad spectrum of concerns.
Kepada semua geng 7,ptg ni lepas Kelas amalan ade meeting,nak discuss pasal projek kite next week,sila ambek perhatian kedapa yang tidak tahu,sila makan tahu dengan segera,info kepada bebudak yng lain.
Saya suka Ken Yang Architect kerana setiap rekaannya mengambil kira tentang alam sekitar. Ken Yang adalah seorang arkitek yang cintakan alam sekitar. Ini dapat dilihat dalam rekaannya yang sentiasa mengambil kira tentang alam semulajadi http://www.pbase.com/ken4143
A self-trained architect, Ando was born in Osaka, Japan, in 1941. He studied traditional Japanese architecture and traveled to the United States, Europe, and Africa studying Western architecture and techniques, and founded Tadao Ando Architect & Associates in Osaka in 1969. Combining modern Western architecture and the simple geometric forms of traditional Japanese architecture, Ando has designed museums, religious structures, and residential and commercial buildings in Germany, Spain, Italy, and France as well as his native Japan. Ando is the recipient of the 1995 Pritzker Architecture Prize and the 2002 American Institute of Architects Gold Medal, and this June was named recipient of the Kyoto Priz
Langen Foundation Neuss, Germany
Ando’s familiar, concrete like silk, long stairs, ramps and light slits, characterize the building.
The Langen Foundation is located at the Raketenstation Hombroich, a former NATO base, in the midst of the idyllic landscape of the Hombroich cultural environment.
Visitors enter through a cut-out in the semicircular concrete wall, opening up the view to the glass, steel and concrete building.
A path, bordered by a row of cherry trees, guide visitors around the pond to the entrance on the longitudinal side of the building.
The glass envelope, supported by steel girders, protects the perimeter around the 76 meter long, 10.8 meter wide and 6 meter high concrete core.
Reflections in the glass skin and in the water of the shallow pond dissolve borders and communicate an impression of weightlessness.
The ticket office and museum shop break through the concrete core and connect with the northern side of the glass envelope, where the border between inside and outside can be experienced along its entire length. The polished concrete floor is inlaid with turquoise illuminated strips.
The building is composed of two architecturally distinct complexes: a long concrete structure within a glass envelope and, at a 45 degree angle, two parallel concrete wings buried six meters deep in the earth and protruding only 3.45 meters above it. A grand stairway between the two wings of the building leads back to ground level.
The long and narrow (43 x 5.4 meters) exhibition room in the concrete core, reserved for the Langen Foundation Japanese collection, receives daylight through linear light rails worked into the ceiling.
On the south side of building, between the concrete core and the glass envelope, the pathway descends slightly toward the mezzanine overlooking the 8 meter tall exhibition wings containing the Modern I and Modern II galleries.
The two galleries, each 436 square meters, have identical dimensions but appear very different.
In Modern I a concrete ramp takes up almost half of the space where as Modern II presents itself in pure size and monumentality.
The two galleries receive daylight through central narrow skylights with adjustable slats.
The Langen Foundation is a masterpiece composed of lines and a fascinating interplay between inside and outside, art and nature, massiveness and lightness. It is a constructed place that is not only an envelope for art but also exhibits itself.
Drawing courtesy Langen Foundation
Site area: 120,220 square meters
Building area: 1,860 square meters
Completed: 2004
Client: Langen Foundation Architect: Tadao Ando & Associates
Design team:
Tadao Ando
Masataka Yano
Antoine Müller Moriya
Saadiyat Island Abu Dhabi, UAE
Ando, Gehry, Hadid, and Nouvel Saadiyat Island, just offshore the emirate, will become a new world-class cultural destination.
Four renowned architects have been commissioned by Abu Dhabi’s Tourism Development & Investment Company (TDIC) for iconic museums and a performing arts centre which will position the UAE capital’s Saadiyat Island, that lies just offshore the emirate, as a world-class cultural destination.
Tadao Ando is designing the Maritime Museum, Frank Gehry the Guggenheim Abu Dhabi, Zaha Hadid the Saadiyat’s Performing Arts Centre, and Jean Nouvel is designing the Classical Museum.
Ando’s Maritime Museum concept takes its inspiration from Abu Dhabi’s natural surroundings, landscape and maritime traditions. It has a reflective surface visually merging sea and land. Its ship-like interior has floating decks which guide visitors through the exhibition space.
“Dhows, Arab sailing vessels with triangular or lateen sails, float over the voids of the interior space and help create an intense visual experience by relating objects to one another and to the museum architecture as a whole. Below ground, there is a second space – a reception hall with an enormous aquarium. A traditional dhow floats over the aquarium and is seen from different perspectives.” Tadao Ando
In order to emphasise the simple, but powerful, shape of the building, the surrounding landscape is organised in grid form. Rows of trees line the forecourt of the site, creating an oasis-like border that allows visitors to transition gradually between the dynamic city and the more serene and contemplative space of the museum.
Gehry’s concept for the Guggenheim Abu Dhabi Museum, which at 320,000 square feet will be the world’s largest Guggenheim museum, is designed around accommodating approximately 130,000 square feet of exhibition space.
It will feature permanent collections, galleries for special exhibitions, a centre for art and technology, a children’s art education facility, archives, library and research centre and a state-of-the-art conservation laboratory.
“It was clear from the beginning that this had to be a new invention. The landscape, the opportunity, the requirement, to build something that people all over the world would come to and the possible resource to accomplish it opened tracks that were not likely to be considered anywhere else. The site itself, virtually on the water or close to the water on all sides, in a desert landscape with the beautiful sea and the light quality of the place suggested some of the direction.” Frank Gehry
Four storeys of central core galleries are laid out around a courtyard, with two more rings of galleries spanning out from the core. The third ring is for larger galleries, built more like raw industrial space with exposed lighting and systems. These galleries will be homes for a new scale of contemporary art - art that would be, perhaps, made on site and of a scale that could not be achieved in the normally organised museums around the world.
In Hadid’s Performing Arts Centre concept, a 62 metre high building is proposed housing five theatres – a music hall, concert hall, opera house, drama theatre and a flexible theatre with a combined seating capacity for 6,300. The Centre may also house an Academy of Performing Arts.
“As it winds through the site, the architecture increases in complexity, building up height and depth and achieving multiple summits in the bodies housing the performance spaces, which spring from the structure like fruits on a vine and face westward, toward the water.” Zaha Hadid
The building becomes part of an inclining ensemble of structures that stretch from the Maritime Museum at its southern end to the Guggenheim Abu Dhabi at the northern tip. With its centre of mass at the water’s edge, the Performing Arts Centre focuses its volume along the central axis of the site. This arrangement interrupts the block matrix at the Arterial Road, opening views to the sea and the skyline of Abu Dhabi.
The concert hall is above the lower four theatres, allowing daylight into its interior and dramatic views of the sea and city skyline from the huge window behind the stage. Local lobbies for each theatre are orientated towards the sea to give each visitor a constant visual contact with their surroundings.
Nouvel’s design concept for the Classical Museum owes much to Saadiyat’s natural surroundings.
“The island offers a harsh landscape, tempered by its meeting with the channel, a striking image of the aridity of the earth versus the fluidity of the waters. These fired the imagination towards unknown cities buried deep into the sands or sunk under water. These dreamy thoughts have merged into a simple plan of an archaeological field revived as a small city, a cluster of nearly one-row buildings along a leisurely promenade.” Jean Nouvel
The building is covered with a large dome, a form common to all civilisations. This one is made of a web of different patterns interlaced into a translucent ceiling which lets a diffuse, magical light come through in the best tradition of great Arabian architecture. Water is given a crucial role, both in reflecting every part of the building and acting as a psyche, and in creating, with a little help from the wind, a comfortable micro-climate that will give visitors a feeling of entering a different world.
The museums on Saadiyat Island’s Cultural District are scheduled to open under a phased programme starting in 2012.
Spread over 87,340 square kilometres, Abu Dhabi is the largest of the seven emirates which make up the United Arab Emirates and accounts for more than 85% of the country's total land mass. The UAE is one of the six members of the Arabian Gulf Co-operation Council.
Saadiyat Island - which translates from Arabic as Island of Happiness - is the largest single mixed-use development in the Arabian Gulf. The 27 square kilometre natural island - half the size of Bermuda - lies only 500 metres offshore Abu Dhabi island - the capital city of the United Arab Emirates. Saadiyat Island is being developed into a complete visitor and residential destination.
Saadiyat Island will be linked to the main Abu Dhabi island and the Abu Dhabi mainland via two, 10-lane freeways making the destination easily accessible to Abu Dhabi International Airport, which will be just a 25 kilometre drive away.
Saadiyat Island’s Cultural District will also feature a Biennale Park and 19 international pavilions which will be criss-crossed by a 1.5 kilometre long navigable canal. The 19 pavilions, which will host a range of art and cultural events and activities, will be designed by some of today’s leading architects. These include UAE’s Khalid Alnajjar Russia’s Yuri Avvakumov, USA’s Greg Lynn, New York’s Hani Rashid, UK’s David Adjaye, China’s Pei-Zhu, and Korea’s Seung H-Sang.
The USA-headquartered urban design, engineering and interiors firm Skidmore, Owings & Merrill LLP (SOM) has created the final master plan for the Cultural District.
The long-term plans also include the development of a creative campus of graduate schools in the fine arts within Saadiyat Island’s Cultural District. These will be devoted to art, architecture, music and drama. Special attention will also be given to developing educational outreach programmes for the youth of the entire Gulf region.
Sayamaike Historical Museum
Osaka, Japan
“I attempted to generate a dynamic sequence of spaces appropriate to the exhibition’s scale.” Tadao Ando
The Sayamaike Historical Museum is located on the edge of Sayamaike Pond, an artificial lake that dates back to the 7th century. The Sayamaike was constructed as an agricultural reservoir for flood control measures but was remodelled into a flood control dam. During that process, various kinds of precious heritage were found.
The museum is dedicated to the relics and techniques of ancient Japanese water engineering along with the history of the community, through conservation of the bank strata and exhibition of various historical items excavated from the pond.
“I decided to integrate the surrounding environment into the architecture, to create a place appropriate to the history that Sayamaike embraces, where the environment itself becomes a museum.” Tadao Ando
Because of the site being about 15 meters below the bank Ando buried the building in a gradual continuation of the bank.
To maintain a homogenous atmosphere with the surrounding tranquility, and not stand out in the landscape, the external walls above ground are stone heaps.
Following a path along the waters of Sayamaike, lined with cherry-blossom trees, visitors pass a wall of rough granite blocks to arrive at a concrete plaza .
Steps in the corner of the plaza lead down to a water patio with pools and cascading waterfalls on both sides.
A recessed walkway along the edge of the central pool, behind a curtain of water, leads into a rotunda at the opposite end. A ramp inside the rotunda guides visitors to the mid-level entrance to the building.
The buildings volume was determined by the scale of the museum’s main archaeological relic; a15.4 meter tall and 62 meter wide relic of the early engineering that was cut through the old dam, dried out, and reassembled in the museum to show how layers were added and sluices threaded through by a succession of builders. The excavated wall is housed in a triple-height exhibition hall.
Simple cubic volumes, concrete planes, rotundas, ramps and stairs, meticulously poured concrete, wood, iron, steel and glass... water and light.
Eero Saarinen 
