LOCATED AT : GRAND AVE, LOS ANGELES, CALIFORNIA, U.S.
ARCHITECTS : FRANK GEHRY
AREA : 200000 ft2
YEAR : 1987-2003
Frank Gehry’s Walt Disney Concert Hall is a world-class performance venue to the privileged people of Los Angeles and a tribute to Walt Disney’s devotion to the arts, an idea coined by his wife, Lillian Disney. To any eye, it’s an intriguing combination of fervent shapes and forms, a mystery that sort of regenerates itself to the point that it’s never the same to any onlooker.
In a down-town of 90 degree angles,Frank Gehry took the road less travelled in this monumental expressionist piece of architecture. With it’s ridiculously churning form, this road less travelled must have not even existed before, to start with. It exudes a presence and a sense of uniqueness that gives everyone else an excitement as they identify with it. To some extent, it is also a disturbance, a conflict that defies the norm of straight lines and rectilinear predictability in the neighborhood. A structure with no standard angles or dimensions and every possible construction challenge that could be encountered with that particular style of design.
It is call as an exonerating piece, releasing architects and designers from the clear cut lines of expectations to broader possibilities and imagination. It has released a spirit of expression that gives freedom to any thought that can be built.
The first view of Walt Disney Concert Hall most people see is the curving stainless-steel skin of the building’s exterior. Resembling silver sails, the curves echo the billows in the auditorium and play off the bowed cornice of the Dorothy Chandler Pavilion, forging a link between new and old. In architect Frank Gehry’s original design, Walt Disney Concert Hall was intended to be clad in stone. After receiving much acclaim for his titanium building in Bilbao, however, he was urged to change the stone to metal. With this new material, Gehry was able to tweak the shape of the exterior, creating the iconic silver sails we see today.
The design represents the style of their creator, architect Frank Gehry, could be considered a work of art in itself. The extravagance of its forms seems to defy any rules of harmony and symmetry. The forms are external inspired by a boat with sails drenched.
The building is essentially a shell which consists of a series of interconnected volumes, some form of orthogonal coated stone and other forms of organic and surfaces covered with a corrugated metal skin of steel. As a bridge between the different volumes are used glazed surfaces.
The centerpiece of the interior of the building was designed to represent the hull of a boat. The idea of the architect was to design a room with an evocative sculptural forms of music, achieving an intimate connection between the orchestra and audience.
DESIGNED SPACES
Inside the corrugated metal shell and the seeming disorder, is developing the program in four functional levels.
The main access is via a large public space that is generated in the same spot. The main entrance connects with the existing facilities of the Music Center. A secondary access, located at the corner formed by the streets Second Street and Grand Avenue, provides a direct access to the gardens.
The hall is accessible from the street. From there we reach the various spaces of the complex. At the field level is located an area of 3,000 m2 for exhibitions, along with a restaurant and service areas. On the north side of the level of access and forming a volume that stands out the set, is located the Founders Room, a space with lounge and cafeteria. Behind and around the box that makes up the auditorium are located support areas and dressing rooms. Towards the south side, on a volume prismatic lengthened, the offices are located. The park has a capacity of almost 2,200 cars and is distributed in 7 levels. From there you can directly access the interior of the building via escalators.
HOUSE FORM AND CULTURE BY : AMOS RAPOPORT THE BOOK COMPILES OF THE EFFECTS OF THE CULTURES AND THE HOUSE FORM AND CULTURE PRESENTS CROSS- CULTURAL STUDIES OF DWELLINGS, BUILDINGS AND SETTLEMENTS WITHIN THE FIELDS OF ARCHITECTURE, PLANNING AND CULTURAL GEOGRAPHY. ABOUT THE AUTHOR AMOS RAPOPORT BORN ON 28 MARCH 1929, WARSAW. AN ARCHITECT AND ONE OF THE FOUNDERS OF ENVIRONMENT-BEHAVIOR STUDIES (EBS). HE IS THE AUTHOR OF OVER 200 ACADEMIC PUBLICATIONS IN THIS FIELD, INCLUDING BOOKS THAT HAVE BEEN TRANSLATED INTO FOREIGN LANGUAGES, INCLUDING FRENCH, SPANISH, GERMAN, PERSIAN, JAPANESE, KOREAN AND CHINESE. HE HAS HELD HONORABLE AND VISITING POSITIONS IN MANY UNIVERSITIES AROUND THE GLOBE, IS PROFESSOR EMERITUS AT THE UNIVERSITY OF WISCONSIN-MILWAUKEE. HIS WORK HAS FOCUSED MAINLY ON THE ROLE OF CULTURAL VARIABLES, CROSS-CULTURAL STUDIES, AND THEORY DEVELOPMENT AND SYNTHESIS. ...
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