August 29, 2014

LOUIS VUITTON FONDATION DESIGN BY FRANK GEHRY




LOUIS VUITTON FONDATION DESIGN BY FRANK GEHRY




LOUIS VUITTON FONDATION DESIGN BY FRANK GEHRY
The building designed by Frank Gehry brings together the full range of the architect's methods, aesthetic codes and modes of expression, while representing a new stage in his work. He revolutionises the use of glass to give life to his vision of a building that is light, luminous and in motion, designed to merge harmoniously with a late 19th century park and to house exceptional works of art.  
Moving away from  the conventional approach to glass surfaces, he has developed a revolutionary way of fashioning this material that makes it possible to curve, in an individualised way and to the nearest millimetre, each of the 3,600 panes in the twelve glass sails that give the structure its volume.  
This great architectural exploit has already taken its place among the iconic works of 21st century architecture. Frank Gehry's building, which reveals forms never previously imagined until today, will be the reflection of the unique, creative and innovative project that is the Fondation Louis Vuitton.
THE SITE
The Fondation Louis Vuitton is located next to the Jardin d'Acclimatation in the Bois de Boulogne, the famous park on the west side of Paris.
With an area of 846 hectares, the Bois de Boulogne has 28 km of bridle-paths and 15 km of cycle-paths, as well as containing well-known waterfalls and numerous lakes, streams and ponds that have been the delight of many Parisians since the mid 19th century.  
Under the encouragement of Baron Haussmann, the Prefect of Paris, and of the Emperor Napoleon III, the engineer Alphand and the landscape gardener Barillet-Deschamps designed this great oasis of greenery from 1853 onwards, taking their inspiration from Hyde Park in London. 
A HIGH-END EXPERIMENTAL AND ENVIRONMENTAL APPROACH
The construction of the Fondation Louis Vuitton building conforms to the LVMH Group's commitment to sustainable development.  From the initial launching of the project, the fauna and flora and the local water-tables have been examined and analysed, the acoustic impact and the anticipated arrival the general public have all been taken into consideration.  The ecological and human bases of sustainable development have thus been placed at the heart of each stage of the project: its design, construction and subsequent use.
Once the building is open, the preservation of its natural resources will continue to be a constant concern. Rainwater will be recovered, for example, so as to supply those systems not requiring drinking water. Stored and filtered, this water will be used preferably to clean the façades and glass roofs of the building.  It will also supply the basin on which the Fondation building is positioned, and finally will also be used to water the plants and terraces.  The consumption of the drinking water used in the Fondation building is therefore limited and is adjusted to requirements.
You may reach Frank Gehry’  design of Vitra Wiggle Chair and Emeco Tuyomyo Bench  from my blog archive to click below links.
http://mymagicalattic.blogspot.com.tr/2014/01/wiggle-chair-design-by-frank-o-gehry.html

http://mymagicalattic.blogspot.com.tr/2014/08/emeco-tuyomyo-bench-design-by-frank.html


















 ‘’ I DREAM OF DESIGNING, IN PARIS, A MAGNIFICENT VESSEL 
SYMBOLISING THE CULTURAL CALLING OF FRANCE. ‘’
Frank Gehry




























LOUIS VUITTON FONDATION' RESTAURANT: LE FRANK


















LOUIS VUITTON FONDATION' RESTAURANT: LE FRANK
















‘’ THE WORK CARRIED OUT ON THIS PROJECT HAS ALREADY BEEN RECOGNISED 
BY SEVERAL ENGINEERING AWARDS BOTH IN FRANCE AND IN THE UNITED STATES. ” 
Frank Gehry










THE BUILDERS
In order to conform to Frank Gehry's design, the men involved in the construction work have found solutions to numerous unprecedented technical challenges, from the initial conception of the project right through to its finishing touches.
In particular, the manufacture of glass was an opportunity to rethink the know-how.A special furnace was created to meet the requirements for curves and projections imposed by the designer. 

http://www.fondationlouisvuitton.fr/en/lesbatisseurs.html#.U_9tKMV_v0U






AVANT-GARDE TECHNOLOGY
Frank Gehry's creativity requires a constant technical innovation. Both in the design of the concept itself and the approach to the construction work, the Fondation Louis Vuitton project turns the principles of architecture upside down. From the very first stages onwards, all the partners brought together for the project have used a single tool: Digital Project, a software program developed by Gehry Technologies on the basis of the Catia program created by Dassault Systems. The exceptional performance of this program has made it possible to create the complex shapes imagined by Frank Gehry, from the design of the building through to the assembly of the different elements on site, and requiring very close collaboration between the different teams working simultaneously with a common 3D model.
Gehry Technologies, for example, has been awarded the BIM (Business Information Model) Award for Excellence conferred by the American Institute of Architects. In France, the Ministry of Ecology, Sustainable Development and Energy and the Ministry for the Recuperation of Manufacturing have conferred the Grand National Engineering Award to Setec Bâtiment, Quadrature Ingénierie, RFR, T/E/S/S. Bonna Sabla received the Trophy FIB (Federation of Industries of Concrete) for the molding of Ductal.

Just a few months ago, Harvard University included the Fondation building in the programme of its architecture degree course.














FRANK GEHRY & BERNARD ARNAULT












THE ARTISTIC GESTURE
To produce his first sketches, Frank Gehry took his inspiration from the lightness of late 19th-century glass and garden architecture.  The architect then produced numerous models in wood, plastic and aluminium, playing with the lines and shapes, investing his future building with a certain sense of movement.  The choice of materials became self-evident: an envelope of glass would cover the body of the building, an assembly of blocks referred to as the "iceberg", and would give it its volume and its vitality. 
Placed in a basin specially created for the purpose, the building fits easily into the natural environment, between woods and garden, while at the same time playing with light and mirror effects. The final model was then scanned to provide the digital model for the project.











































GEHRY PARTNERS
Gehry Partners, LLP is a full service firm with broad international experience in academic, commercial, museum, performance, and residential projects.
Frank Gehry established his practice in Los Angeles, California in 1962. The Gehry partnership, Gehry Partners, LLP, was formed in 2001. Gehry Partners employs a large number of senior architects who have extensive experience in the technical development of building systems and construction documents, and who are highly qualified in the management of complex projects.
Every project undertaken by Gehry Partners is designed personally and directly by Frank Gehry. All of the resources of the firm and the extensive experience of the firm’s partners are available to assist in the design effort and to carry this effort forward through technical development and construction administration. The firm relies on the use of Digital Project, a sophisticated 3D computer modeling program originally created for use by the aerospace industry, to thoroughly document designs and to rationalize the bidding, fabrication, and construction processes.
The partners in Gehry Partners, LLP are: Frank Gehry, Brian Aamoth, John Bowers, Anand Devarajan, Jennifer Ehrman, Berta Gehry, Meaghan Lloyd, David Nam, Tensho Takemori, Laurence Tighe & Craig Webb.
http://www.foga.com/






FRANK O. GEHRY
Frank Gehry considers the recently commissioned Walt Disney Concert Hall in Los Angeles to be his first major project in his hometown. No stranger to music, he has a long association with the Los Angeles Philharmonic Orchestra, having worked to improve the acoustics of the Hollywood Bowl. He also designed the Concord Amphitheatre in northern California, and yet another much earlier in his career in Columbia, Maryland, the Merriweather Post Pavilion of Music. 
The Museum of Contemporary Art selected him to convert an old warehouse into its Temporary Contemporary (1983) exhibition space while the permanent museum was being built. It has received high praise, and remains in use today. On a much smaller scale, but equally as effective, Gehry remodeled what was once an ice warehouse in Santa Monica, adding some other buildings to the site, into a combination art museum / retail and office complex. 
The belief that "architecture is art" has been a part of Frank Gehry's being for as long as he can remember. In fact, when asked if he had any mentors or idols in the history of architecture, his reply was to pick up a Brancusi photograph on his desk, saying, "Actually, I tend to think more in terms of artists like this. He has had more influence on my work than most architects. In fact, someone suggested that my skyscraper that won a New York competition looked like a Brancusi sculpture. I could name Alvar Aalto from the architecture world as someone for whom I have great respect, and of course, Philip Johnson." 
Born in Canada in 1929, Gehry is today a naturalized U.S. citizen. In 1954, he graduated from the University of Southern California and began working full time with Victor Gruen Associates, where he had been apprenticing part-time while still in school. After a year in the army, he was admitted to Harvard Graduate School of Design to study urban planning. When he returned to Los Angeles, he briefly worked for Pereira and Luckman, and then rejoined Gruen where he stayed until 1960.
In 1961, Gehry and family, which by now included two daughters, moved to Paris where he worked in the office of Andre Remondet. His French education in Canada was an enormous help. During that year of living in Europe, he studied works by LeCorbusier, Balthasar Neumann, and was attracted to the French Roman churches. In 1962, he returned to Los Angeles and set up his own firm. 
A project in 1979 illustrates his use of chain-link fencing in the construction of the Cabrillo Marine Museum, a 20,000 square foot compound of buildings that he "laced together" with chain-link fencing. These "shadow structures" as Gehry calls them, bind together the parts of the museum. 
Santa Monica Place, begun in 1973, has one outside wall that is nearly 300 feet long, six stories tall and hung with a curtain of chain link; a second layer over it in a different color spells out the name of the mall.
For a time, Gehry's work used "unfinished" qualities as a part of the design. As Paul Goldberger, New York Times Architecture Critic described it, "Mr. Gehry's architecture is known for its reliance on harsh, unfinished materials and its juxtaposition of simple, almost primal, geometric forms...(His) work is vastly more intelligent and controlled than it sounds to the uninitiated; he is an architect of immense gifts who dances on the line separating architecture from art but who manages never to let himself fall." 
A guesthouse he designed in 1983 for a home in Wayzata, Minnesota that had been designed by Philip Johnson in 1952 proved a challenge that critics agree Gehry met and conquered. The guesthouse is actually a grouping of one-room buildings that appear as a collection of sculptural pieces.
In 1988, he did a monument to mark the centennial of the Sheet Metal Workers' International Association. It was built by 600 volunteers from the union in the cavernous central hall of the National Building Museum (formerly known as the Pension Building) in Washington, D.C. The 65-foot high construction was galvanized stainless steel, anodized aluminum, brass and copper. 
There is an interesting note regarding a statement Gehry prepared for the 1980 edition of Contemporary Architects , Gehry states, "I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user brings his baggage, his program, and interacts with it to accommodate his needs. If he can't do that, I've failed."