DANCE PALACE IN ST. PETERSBURG DESIGN BY UNSTUDIO
BEN VAN BERKEL & CAROLINE BOS
DANCE PALACE IN ST. PETERSBURG DESIGN BY UNSTUDIO
BEN VAN BERKEL & CAROLINE BOS
ENGINEERING: ARUP
ENGINEERING: ARUP
Dutch architects UNStudio have won a competition to design
a dance theatre in St. Petersburg, Russia.
Clad in triangular panels of varying opacity, the building will be
situated on a new square in the historic centre of the city.
The two horseshoe-shaped auditoriums will have a combined capacity
of 1,300.
“An essential requirement when we were designing the auditorium was
to make it possible to see the dancer’s feet from every seat in the hall at all
times, no matter where the performer was positioned on the stage,” explains Ben
van Berkel of UNStudio.
INFORMATION FROM UNSTUDIO:
Dance Palace, St. Petersburg, Russia, 2009 - UNStudio/ Ben van
Berkel’s design selected for Dance Palace in the historic centre of St.
Peterburg
UNStudio’s design has been selected in the competition for a 21,000
square meter dance theatre in the historic centre of St. Petersburg. The new
complex houses The Eifman Ballet of St. Petersburg, headed by the prolific
choreographer Boris Eifman. From the four projects presented (Jean Nouvel (FR),
UNStudio (NL), Snøhetta (NO), ZAO (RU)), UNStudio’s design was yesterday
unanimously chosen by the jury for realisation.
The Dance Palace forms an integrated part of the European
Embankment city quarter masterplan for a new urban square in the historic
centre of St. Petersburg.
According to Ben van Berkel, “The urban context of the building is
essential to the design. The Dance Palace is positioned on the square in such a
way as to allow for unrestricted visibility towards the nearby Prince Vladimir
and Peter and Paul cathedrals, thereby framing some of the most exceptional
buildings in St. Petersburg. The sculptural qualities of the Dance Palace
reflect those of the surrounding buildings in the masterplan, providing a
connection to its surroundings yet still retaining saliency. A central main
entrance is incorporated into the façade design in order to fully integrate the
building into this lively public square.”
UNStudio’s design for the Dance Palace presents an open and
inviting theatre building with provision for 1300 guests (large auditorium
1000, small auditorium 300). Programmatic considerations focus on the spacious
circulation of the public foyer and the transparent relationship to the
surrounding public square and the city. Integration with the existing
neighbouring buildings is achieved by both the scale of the building - which in
elevation follows and respects St. Petersburg’s typical 28m roofline – and the
transformative transparency which is introduced by a facade system of
triangular cladding panels. The variation between opaque and perforated panels
creates a controlled openness, depending on programme, views and orientation.
Ben van Berkel says of the foyer design, "The vertical foyer
provides a high level of transparency from inside to outside, whilst also
presenting a kind of stage for visitors to the theatre; a place to see and be
seen. The open arrangement and balcony structure in the foyer provides plateaus
for its own choreography of both intimacy and exposure.”
THE STAGE
Essential to UNStudio’s design for the main auditorium in the new
dance theatre are both the acoustic considerations and the proximity of the
audience to the stage. For this reason the horseshoe form was chosen. This form
is considered to be one of the most successful forms acoustically in ballet and
musical theatre for both performer and audience, whilst the proximity it
affords to the stage ensures an intimate and collective experience for the
spectator.
Theatre consultant: theateradvies bv, Amsterdam
Theatre consultant: theateradvies bv, Amsterdam
UNSTUDIO
Ben van Berkel, Gerard Loozekoot with Christian Veddeler, Wouter de Jonge and Jan Schellhoff and Kyle Miller, Maud van Hees, Hans-Peter Nuenning, Arnd Willert, Nanang Santoso, Imola Berczi, Tade Godbersen, Patrik Noome
Ben van Berkel, Gerard Loozekoot with Christian Veddeler, Wouter de Jonge and Jan Schellhoff and Kyle Miller, Maud van Hees, Hans-Peter Nuenning, Arnd Willert, Nanang Santoso, Imola Berczi, Tade Godbersen, Patrik Noome
Advisors:
Theatre consultant: theateradvies bv, Amsterdam Louis Janssen,
Caroline Noteboom
ARUP
Engineering:
Jaap Wiedenhoff (Arup director), Soren Svare (Arup Russia), Arjan Habraken (Structures), Gerard Nouwens (MEP), Pascal Steenbakkers (Fire & coordinator), Helen Butcher (Acoustics), Rudi Scheuerman (Facades), Sergei Nikigorov (Arup Russia), Sam Wise (Acoustics and Costing), Oleg Romashkin (Arup Russia), Stanislav Korulin (Arup Russia), Lyudmilla Jones (Fire), George Faller (Fire), Daan van Konijnenburg (MEP), Christa de Vaan (MEP)
Jaap Wiedenhoff (Arup director), Soren Svare (Arup Russia), Arjan Habraken (Structures), Gerard Nouwens (MEP), Pascal Steenbakkers (Fire & coordinator), Helen Butcher (Acoustics), Rudi Scheuerman (Facades), Sergei Nikigorov (Arup Russia), Sam Wise (Acoustics and Costing), Oleg Romashkin (Arup Russia), Stanislav Korulin (Arup Russia), Lyudmilla Jones (Fire), George Faller (Fire), Daan van Konijnenburg (MEP), Christa de Vaan (MEP)
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BEN VAN BERKEL & CAROLINE BOS
UNStudio, founded in 1988 by Ben van Berkel and Caroline Bos, is a Dutch
architectural design studio specializing in architecture, urban development and
infrastructural projects. The name, UNStudio, stands for United Network Studio,
referring to the collaborative nature of the practice. In 2009 UNStudio Asia
was established, with its first office located in Shanghai, China. UNStudio
Asia is a full daughter of UNStudio and is intricately connected to UNStudio
Amsterdam. Initially serving to facilitate the design process for the Raffles
City project in Hangzhou, UNStudio Asia has expanded into a full-service design
office with a multinational team of all-round and specialist architects.
PROJECTS WORLD - WIDE
Throughout more than 20 years of international project experience, UNStudio
has continually expanded its capabilities through prolonged collaboration with
an extended network of international consultants, partners, and advisors across
the globe. This network, combined with our centrally located offices in
Amsterdam and Shanghai, enables us to work efficiently anywhere in the world.
With already over seventy projects in Asia, Europe, and North America, the studio
continues to expand its global presence with recent commissions in among others
China, South-Korea, Taiwan, Italy, Germany and the USA.
COLLABORATION WITH LEADING SPECIALISTS
As a network practice, a highly flexible methodological approach has been developed
which incorporates parametric designing and collaborations with leading
specialists in other disciplines. Drawing on the knowledge found in related
fields facilitates the exploration of comprehensive strategies which combine
programmatic requirements, construction and movement studies into an integrated
design. With this network approach UNStudio can set-up multidisciplinary teams
from early stages onwards in order to create an efficient and integrated
working process. This dynamic nature of the practice enables the exploration of
new territories and the adaptation to future challenges.
AN EFFICIENT AND FLEXIBLE ORGANIZATIONAL STRUCTURE
UNStudio’s organizational structure accommodates our objective to be a
flexible partner in challenging projects. We strive for quick and efficient
processes, and we constantly evaluate and renew our working techniques. The
management team of UNStudio consists of Co-founders Ben van Berkel, Caroline
Bos and the Directors Gerard Loozekoot, Astrid Piber and Harm Wassink. Together
with a group of six Associate Directors the board of directors is responsible
for the daily and long term management of the office.
KNOWLEDGE SHARING IN KNOWLEDGE PLATFORMS
Since the founding of the practice, UNStudio has been developing design
knowledge as a result of combining the designing and building of projects with
an active participation in architectural theory. In 2008, following a continued
interest in geometry, digital production, material effects and attainable
design solutions, this communal knowledge led to the introduction of knowledge
platforms to the studio.
Whilst the primary objective of our project teams is to deliver the ‘result’ of architectural thinking (buildings, plans, designs), the objective of the knowledge platforms is to distill knowledge from within the practice of architecture in order to propel design thinking and innovation.
Whilst the primary objective of our project teams is to deliver the ‘result’ of architectural thinking (buildings, plans, designs), the objective of the knowledge platforms is to distill knowledge from within the practice of architecture in order to propel design thinking and innovation.
IMPROVEMENT AND
QUALITY
The research and development of design, data processing, technique and
details, processing technical consequences and architectural supervision of
UNStudio Van Berkel & Bos BV has been found to conform the Standard
NEN-EN-ISO 9001: 2008 since 2001 and most recently in 2010 the Environmental
management systems NEN-EN-ISO 14001:2004.
You may reach from Unstudio’s design of Knoll Seating Stones and project of Yongjia
World Trade Center to click below links.
http://mymagicalattic.blogspot.com.tr/2013/04/seating-stones-design-by-unstudio-for.html
ARUP
In 1946, philosopher and engineer Ove Arup set up his
consulting engineering business in London. In the more than 60 years that have
followed, the business has grown into an international consulting firm of
unparalleled scope, owned in trust for its employees and using the business
principles that Ove Arup first set out – and which he articulated for posterity
in 1970 in his forward-looking ‘key
speech’.
Right from the start, Arup was known for its close and
exceptionally productive collaborations with leading and avant-garde
architects. In its first two decades, the firm expanded rapidly, and earned a
formidable reputation for devising advanced and economical solutions for
buildings – a reputation it still enjoys today.
By 1976, Arup’s reputation had become truly global
with the completion of the Sydney
Opera House. By this time, the firm had opened offices in Northern
Europe, Southern Africa, South East Asia and Australia. Its breadth of
expertise was already considerable: this ranged from offshore
engineering, acoustics, facades,
and specialist skills such as impact, blast, risk and seismic
engineering, to relatively-niche areas such as designing
transportation containers for nuclear
waste.
The firm’s portfolio today is broad and wide-ranging.
Many of the world’s most iconic sports stadia are Arup projects – such as Beijing’s Water Cube, the Singapore
Sport's Hub and London Aquatics Centre.
Arup’s work goes beyond buildings and infrastructure,
however. We collaborated with car manufacturers on the design of the SuperLight
car, which uses considerably less energy than the petrol equivalent.
Through our Operational Readiness, Activation and Transition
(ORAT) service we help
clients and other stakeholders plan for the seamless opening and operation of
major facilities like airports and hospitals or for major events. Arup has also
developed a range of proprietary computer modelling tools which it sells around
the world, as well as innovations such as our SoundLab,
an aural-realisation tool with which clients can hear subjectively how
different design options perform acoustically – before they are actually built.
Arup now has over 92
offices across Europe,
North America, Africa, Australasia and South East Asia. We employ more than
12,000 people globally.
http://www.arup.com/About_us/A_better_way/History.aspx
