Giving priority to the object, Ettore Sottsass has revolutionized the concept of industrial design through a fromal language and the unconventional use of colors, bringing design in the center of a mediatic society of mass-production.
Friday, April 22, 2011
Thursday, April 7, 2011
Back at the Bauhaus, one of his first projects was the 1926 steel club armchair, also known as the Model B3 chair, and later renamed the Wassily, after the Bauhaus teacher Wassily Kandinsky, for whom it was not designed, but who liked it so much that he ask for a duplicate for his personal quarters.
Width – 31, Depth – 28, Height – 29
Weight : 30 pounds
The original product was only in black and white
It looks very light, pure, without any decoration or ornament, it is bare. It looks pragmatic, useful, but it doesn't look very comfortable because of the angle of the seat. This element makes it differ from conventional chairs which usually have a seat parallel to the ground.
It was made from extruded nickel-plated tubular steel. Unusually light and easy to assemble from ready-made steel tubes, the chair was the result of Breuer's years of experiments with bending steel and was immediately hailed as an important breakthrough in furniture design. "I thought that this out of all my work would earn me the most criticism," he noted, "but the opposite of what I expected came true".
The frame of the chair was made from polished, bent, nickelled tubular steel, which later became chrome plated. The seat came in canvas, fabric or leather in black section.
It was first produced by the manufacturer Thonet.
Nowadays, rates can vary generally for the Wassily chairs. You will find them at costs beginning from $500 to $2000 and above. The Wassily that are manufactured by Knoll are specifically more expensive because they have the official licence. As the chair has been copied a lot, you can find chairs similar to the Wassily chair at lower prices. The most expensive of all are the original models who were produced by Thonet, and went out of production during WWII.
A big part of the success that this chair has is a result of the fact that it was able to fill up a clear place at precisely the correct time. In past times, people were becoming fed up with the same old designs and simply desired something superior.
This chair was revolutionary in the use of the materials and methods of manufacturing. It is said that the handlebar of Breuer's Adler Bicycle inspired him to use steel tubing to build the chair, and it proved to be an appropriate material because it was available in quantity.
The design (and all subsequent steel tubing furniture) was technologically feasible only because the German steel manufacturer Mannesmann had recently perfected a process for making seamless steel tubing. Previously, steel tubing had a welded seam, which would collapse when the tubing was bent.
These days, the Wassily chair holds a proud spot at the Museum of Modern Art, NY. This chair became so well-known through the decades that you can even buy paper prints of it now.
Thursday, March 31, 2011
Thursday, March 17, 2011
Source:Guardian.co.uk Author:Jonathan Glancey Date: 2011-03-03
The world's most spectacular opera house has just opened in China – but it could have been built in Cardiff. Jonathan Glancey reports on Zaha Hadid's stunning new project
Bursting into neon life ... Zaha Hadid's Guangzhou Opera house
I walk up the ramp of the new Guangzhou Opera House, and suddenly it seems like Chinese New Year. The brand new skyscrapers that surround it, each named after some global finance corporation, burst into neon life, flickering and flashing in a way that makes Las Vegas seem like a mere twinkle. By contrast, the opera house seems almost serene – remarkable given that it's the latest design by Zaha Hadid, an architect celebrated for buildings that shoot across the urban landscape like bolts of lightning. Yet, while the pulsating lights disguise what are regular office towers, once inside, Hadid's opera house reveals itself in all its complexity, at once highly theatrical and insistently subtle.
Set in Haixinsha Square, a brand new stretch of south China's ever-expanding trading city, the opera house takes the form of what appear to be two enormous pebbles that might have been washed up on the shores of the Pearl river, on which Guangzhou stands. Rough-shaped things sheathed in triangles of granite and glass protrusions, one houses the main auditorium while the smaller encloses a multipurpose performance space. There's no question, though, that the opera house is best experienced at night. As darkness falls and the foyers fill up with people, the building magically comes to life.
The opening-night audience has come to experience Akram Khan's cacophonous dance piece, Vertical Road. Yet all eyes are trained on the doors as the architect makes her entrance. Tonight, Hadid is architecture's Queen of the Night, making stately progress through a phalanx of photographers. For the British contingent in the wave-like foyer, there is something special in seeing Hadid inside the building she should have built in Britain years ago.
Ah, yes, the Cardiff Bay Opera House. In 1994, Hadid had designed a magical theatre for the Welsh coast. It would have become the most radical and compelling building in Britain, but an alliance of narrow-minded politicians, peevish commentators and assorted dullards holding the Lottery purse strings ensured it was never built. More than a decade on, Hadid has built her opera house. Of course, it's not the same design, yet the building embodies the spirit as well as something of the presence of the great theatre we could have had in Britain rather than here, 6,000 miles away.
The ramp down to the lower floors; the two pebble-like structures are connected underground
The Chinese had been thinking of an opera house in Guangzhou as early as 1993, when mayor Lin Shusen championed the new commercial and cultural quarter by the river. "It was incredible," says Hadid. "When I first came to Guangzhou in 1981, it seemed such a hard and dour place with everyone in Chairman Mao uniforms. By the late 90s it had begun to grow very fast indeed, but where we're standing now [in the foyer of the opera house], there was nothing whatsoever."
Even in a city famous for building at breakneck speed, the opera house has taken more than five years to complete. But then, this was never going to be an ordinary commission. The main building comprises a freestanding concrete auditorium set within an audacious granite and glass-clad steel frame. The exposed frame is a stunning thing, a kind of giant spider's web protruding in several unlikely directions. It seems to challenge the laws not just of conventional geometry, but of gravity itself.
The Chinese state engineers charged with the project were pushed to new limits. "The magic, though," says Simon Yu, the Scottish-born project architect, "is in the joints that hold the structure in place." We look up at them. Here are star-like, cast steel junction boxes that keep the adventurous structure in tension. They look spectacular. "We made them the same way they made great medieval bells. They were sandcast in an old fashioned foundry in Shanghai where the sparks flew like . . . fireworks."
Between this exposed steel skeleton and the auditorium lie the foyers. Here, you are hard pressed to find a straight line. They waltz around the auditorium, twisting, turning, ducking and weaving. Grand stairs slope and twist majestically from the black granite floors of the foyer up to the balconies and upper tiers of the auditorium. Audience members will find it hard to break away from these spectacular vistas and take their seats.
The opera house surrounded by the urban skyline
The auditorium proves to be a further wonder, a great grotto like a shark's mouth set under a constellation of fairylights. The space is asymmetric, but despite its unusual shape, the acoustics are perfect; the work of Harold Marshall, the veteran New Zealand acoustician. Intriguingly, he says that the strange angles of Hadid's auditorium work to produce an acoustic perfectly suited to both western and traditional Chinese opera. "There are very, very few asymmetrical auditoriums," says Marshall. "But asymmetry can be used to play with sound in very satisfying ways; it's more of a challenge tuning it, but the possibilities are greater, and this one has a beautifully balanced sound." Could it have been done in Cardiff Bay? "Of course it could."
"Next year," says Yu Zhang, the president of the opera house, "we will be putting on Chinese versions of Cats and Mamma Mia." No one can accuse the Guangzhou Opera House of elitism. In fact, the aim has been to shape a building, and an institution, open to all talents. In the backstage areas, lucky schoolchildren as well as professional musicians and dance companies will rehearse in stunning mirrored rooms set under rippling ceilings, calling to mind underwater caverns and grottoes.
Outside, the experience of strolling between and around the two "pebbles" is an extension of this architectural performance. The narrow crevice between the two structures reminds me a little of the enchanting entrance to Petra in Jordan through high walls of narrowing rocks. Local people clearly enjoy it. One boy runs up a sloping wall and tries to perform a somersault. Another seems to wonder whether he might race his bike up the opposite slope; but, with so many unsmiling security guards about, he decides, wisely, to pedal on.
An even greater performance lies above. Here, by night, the surrounding towers appear to grow out of the tops of Zaha's "pebbles", creating ever more surreal skyscapes at each turn of the head. These views can be experienced from inside the lobbies, too, lit from end to end by windows cut into the roofs and ceilings. Through these, you can see the drama of the city even while strolling through the depths of the opera house. "The idea," says Hadid, "is that the building is really a part of the city and you're aware of the city even when inside. It doesn't just go away."
A gap, or crevice, between Zaha Hadid's 'pebbles': the main opera house is on the left,
and the smaller, multi-purpose auditorium is on the right
A post-opera stroll
Hadid has long talked about the idea of buildings as landscapes, of shaping structures and spaces within them as if they might meander like a river. This is a beautiful idea very nearly realised in Guangzhou. If I have a criticism it is this: instead of dropping down to meet the Pearl River, the landscape of the opera house ends abruptly with further developments, including a viewing stand built for the 2010 Asian Games, and a concatenation of lumpen apartment blocks. It would have been so very special to have stepped out of a performance of Billy Budd or The Flying Dutchman and to have walked down to the river without having to think about which way to turn.
Even then, Guangzhou has to be applauded for giving Hadid and her team such a free hand with the design, when such a building has yet to make its debut in Britain. Despite building on a grand scale around the world, in the UK Hadid has just a school in Brixton, Maggie's Centre in Kirkcaldy and the Aquatics Centre for the 2012 Olympics to her credit. For, here is an architect clearly in love with the arts, and who is an artist herself. A performing one, too, as she receives the adulation of Guangzhou walking slowly and yet so proudly through a building that she had been thinking about for almost 20 years.
An interesting article discussing two very famous Opera Houses.
Could Southern China's new cultural beacon eclipse the Sydney Opera House?
Sydney’s official Chinese "sister city" Guangzhou commissioned the design of Darling Harbour's tranquil Chinese Garden of Friendship for the 1988 bicentennial celebrations. But with Guangzhou’s new state-of-the-art opera house now open to the public and boasting superior acoustic planning to that of the Sydney Opera House, are the sister cities set to become sibling rivals?
Designed and constructed over the past eight years, Guangzhou Opera House and performing arts complex is one of the major triumphs of award-winning Iraqi-born architect Zaha Hadid, whose firm is also responsible for the Beethoven Concert Hall in Bonn, the New Dance and Music Centre in The Hague, and the JS Bach Chamber Music Hall in Manchester. Hadid's practice is renowned for strikingly contemporary yet naturalistic forms, as seen in the two-boulder structure of the Guangzhou building and in projects as innovative as the Chanel Mobile Art Pavillion, which has toured to Hong Kong, Tokyo, New York and Paris.
Hadid’s team worked closely with acousticians from the Melbourne-based Marshall Day firm to ensure that the 1,800-seat Guangzhou hall caters for both Western and Chinese opera, two artforms with vastly different requirements in terms of vocal projection.
The venue, which will stage more than 200 shows a year, officially opened its doors on February 24. The debut performance was a contemporary dance production by British-Bengali Akram Khan, whose fluid gestures and East-meets-West approach complemented the aesthetic of Guangzhou’s new architectural marvel.
Overlooking the Pearl River, it is the largest performing arts centre in South China, described by Hadid’s firm as “a lasting monument to the New Milennium”. It also looks to ancient design principles and Zen philosophy, the flowing exterior inspired by traditional Chinese gardens like the one Guangzhou gifted Sydney.
Wednesday, March 16, 2011
The 70,000-square-meter complex of steel, glass and concrete was built using both cutting-edge and near-obsolete construction methods. A pair of asymmetric buildings—the main structures of the opera house—contain a metal skeleton that requires 59 unique, custom-cast steel joints. According to Ms. Hadid’s firm, the Shanghai foundry that made them borrowed techniques perfected in medieval Europe to produce church bells. Then, since precision was critical to ensuring that the irregularly shaped shell was structurally sound, engineers assembled the components using lasers and GPS positioning.
What is the cost of production, distribution and sustainability ? How long does it take to manufacture and where is it done ?
The cost is estimated to be an investment of $120 million. It took nearly 8 years to make it.
What does it look like ? How does it differ from other objects in the same family ?
The 1,800-seat venue dominates the riverfront of the prime Zhujiang New Town business district. The exterior of the opera house is inspired by the idea of two rocks in a stream, “a poetic analogy,” says Ms. Hadid, who as a young architect in 1981 visited traditional gardens in China. The approach resulted in spaces that smoothly flow into others. Ramps and gradually cascading stairs give access to the main entrances and the outdoors. Inside, visitors go from one area to the next surrounded by the kind of clean, fluid lines and textures that have become Ms. Hadid’s signature. In the grand entrance hall, windows composed of triangular pieces of glass let in sunlight by day and the neighborhood’s neon-lit skyscrapers and towers by night.The spine and structural frame of the faceted skin is a dominant element in the interior space: the lobby, entrance, and circulation area interacts with the dynamic treatment, moving and guiding the visitors throughout the volume. In addition to the 1,800-seat grand theatre, the complex hosts a multifunction hall,a number of auxiliary facilities and support premises.
How does this object go beyong initial interpretation?
The Guangzhou Opera House is at the heart of Guangzhou’s cultural sites development. It will be a lasting monument to the New Millennium, confirming Guangzhou as one of Asia’s cultural centers.
Its unique twin boulder design will enhance urban function by opening access to the riverside and dock areas and creating a new dialogue with the emerging new town.
Does it have a cultural legacy whether it is for the mass, the elite?
What is really special about the GOH is the marriage of high, intellectual, brilliant, avant-guarde architecture – which instinctively, added to the cost of production, directs the building towards a specific, high-class use by the elite – and true populism:
Next year, the GOH is not only going to have high opera, chinese opera – generally reserved to a smaller economic & cultural elite – but also 'cats and mama-mia's' for the larger mass. The GOH thus becomes a grand, wonderful opera house for everyone.