ILMA of the Week: Peter Eisenman

ILMA-EISENMAN

 

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FC3 ARCHITECTURE+DESIGN, LLC
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ILMA of the Week: Eric Owen Moss

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Eric Owen Moss (b. 1943 in Los Angeles, California) practices Architecture with his eponymously named LA-based 25-person firm founded in 1973. Throughout his career Moss has worked to revitalize a once defunct industrial tract in Culver City, California. Moss received a Bachelor of Arts from the University of California, Los Angeles in 1965, his Masters of Architecture from the University of California, Berkeley, College of Environmental Design in 1968 and a second Masters of Architecture from Harvard University Graduate School of Design in 1972. Moss taught at Southern California Institute of Architecture (SCI-Arc) in 1974 and was appointed director in 2002. He has held chairs at Yale and Harvard universities, and appointments at the University of Applied Arts in Vienna and the Royal Danish Academy of Fine Arts in Copenhagen.

Moss received a 1998 AIA/LA Medal for his Architectural work as well as the Business Week / Architectural Record Award in 2003 for the design and construction of the Stealth project, Culver City, California. He is a Fellow of the American Institute of Architects and received the Distinguished Alumni Award for the University of California at Berkeley in 2003. Moss received the 2007 Arnold Brunner Memorial Prize from the American Academy of Arts and Letters. In 2011, he was awarded the Jencks Award, given each year to an architect who has made a major contribution to theory and practice of architecture by the Royal Institute of British Architects. Currently, there are ten published monographs on the work of Eric O. Moss’ office.

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FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
web: http://fc3arch.com
Licensed in CT, DE, FL, NJ, NY, PA.


My 10 All-Time Favorite Architecture Books by @FrankCunhaIII

These are my top Architecture books to read:

A History of Architecture: Settings and Rituals
By Spiro Kostof

Architecture and Disjunction
By Bernard Tschumi

Delirious New York: A Retroactive Manifesto for Manhattan
By Rem Koolhaas

Intertwining
By Steven Holl

Learning from Las Vegas – Revised Edition: The Forgotten Symbolism of Architectural Form
By Robert Venturi, Steven Izenour, Denise Scott Brown

Hedjuk Masque

Mask of Medusa
By John Hejduk

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S M L XL
Rem Koolhaas

The Space of Encounter
By Daniel Libeskind

Ten Books on Architecture
By Vitruvius

Corbusier

Towards a New Architecture
By Le Corbusier

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Frank Cunha III
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FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
web: http://fc3arch.com
Licensed in NJ, NY, PA, DE, CT.


@FC3ARCHITECTURE – Parachute Pavilion (Coney Island, New York)

Site

The Parachute Pavilion is located on the boardwalk edge of the former Steeplechase Park site adjacent to “Brooklyn’s Eiffel Tower” (a 262-foot-high Parachute Jump, which is a New York City designated landmark since 1989) and KeySpan Park. The pavilion encompasses the entire 7,800 SF footprint.

Program

The Parachute Pavilion boosts a two-story indoor/ outdoor Restaurant, kitchen, bar, and restrooms accessible from the existing boardwalk. On the lower level is a Multi-use Exhibition/Event Space (a flexible and revenue producing space for private and public exhibits and events) and four offices (for city agencies or local advocacy groups). The store sells Coney Island and Parachute Jump souvenirs, surfing gear, and fishing supplies.

Concept

The form from which this building was developed was inspired by all things American – apple pie, baseball, hotdogs on the boardwalk, the (feeling of) Fourth of July, and Rock-and-Roll. After visiting the site, a 4-minute 14-second video using the still images of the trip was produced. The moving images were accompanied by Jimi Hendrix’s “Star-spangled Banner” (August 17, 1969 recording), which affected the transitions from image-to-image (because a moving photo editing filter was used). The still images from the video were used to create figure-grounds, which were explored using a series photo editing filtering techniques.

The final diagram was placed on the given site to respect the historic Parachute Jump. The building opens itself to “create” and “frame” views much like the “filtering process” used to develop the building form. The occupants of the pavilion will sense the presence (and omnipresence) of the jump structure while flowing through the “filtering” spaces as shadows dance on the floors through the 3-dimensional light wells, from the upper level down to the lower level. Materials and finishes tie new with old.  Outside and inside are blurred and intertwined by elegant glass walls.

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We would love to hear from you on what you think about this post.  We sincerely appreciate all your comments.

If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

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Frank Cunha III
I Love My Architect – Facebook

FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
web: http://fc3arch.com
Licensed in NJ, NY, PA, DE, CT.


Contemporary Philosophy – Postmodernism & Critical Theory – Álvaro Siza Vieira

Álvaro Siza Vieira

Broadly and variously defined, Postmodernism refers to a specific period of time that began in the 1940s, a style of literature, architecture, art philosophy, or the plight of Western society in post-capitalist age.  This movement encompasses a set of critical and rhetorical practicesemploying concepts such as difference, repetition, and hyperreality to break apart or deconstruct other the structural elements achieved through modernism, including temporality, presence, identity, historical progress, epistemic certainty, and meaning achieved through unity.  For more information on Postmodernism, please click here.

Álvaro Joaquim de Melo Siza VieiraGOSEGCIH, is a contemporary Portuguese architect, born 25 June 1933 in Matosinhos a small coastal town by Porto. He is internationally known as Álvaro Siza (Portuguese pronunciation: [ˈaɫvɐɾu ˈsizɐ].

He graduated in architecture in 1955, at the former School of Fine Arts from the University of Porto, the current FAUP – Faculdade de Arquitectura da Universidade do Porto. He completed his first built work (four houses in Matosinhos) even before ending his studies in 1954, the same year that he first opened his private practice in Porto. Siza Vieira taught at the school from 1966 to 1969, returning in 1976. In addition to his teaching there, he has been a visiting professor at the Graduate School of Design, Harvard University; the University of Pennsylvania; Los Andes University of Bogota; and the École Polytechnique Fédérale de Lausanne.

Along with Fernando Távora, he is one of the references of the Porto School of Architecture where both were teachers. Both architects worked together between 1955 and 1958. Another architect he has collaborated with is Eduardo Souto de Moura, e.g. on Portugal’s flagship pavilions at Expo 98 in Lisbon and Expo 2000 in Hannover, as well as on the Serpentine Pavillon 2005. Siza’s work is often described as “poetic modernism“; he himself has contributed to publications on Luis Barragán.

Most of his best known works are located in his hometown Porto: the Boa Nova Tea House (1963), the Faculty of Architecture (1987–93), and the Serralves Museum of Contemporary Art (1997). Since the mid-1970s, Siza has been involved in numerous designs for public housing and universities. Most recently, he started coordinating the rehabilitation of the monuments and architectonic heritage of Cidade Velha (Old Village) in Santiago, an island of Cape Verde.

Álvaro Siza Vieira Hompage

Click Here

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Contemporary Philosophy, Critical Theory and Postmodern Thought

Theodor Adorno Louis Althusser Roland Barthes
Michael Bakhtin Jean Baudrillard Walter Benjamin
Maurice Blanchot Kenneth Burke Albert Borgmann
Jacques Derrida Gilles Deleuze Terry Eagleton
Stanley Fish Michel Foucault Frankfurt School
Hans-George Gadamer Anthony Giddens Antonio Gramsci
Felix Guattari Jurgen Habermas Donna Haraway
Martin Heidegger Agnes Heller Max Horkheimer
Edmund Husserl Ivan Illich Fredric Jameson
Julia Kristeva Jacques Lacan Bruno Latour
Jean Francois Lyotard Georg Lukács Paul de Man
Herbert Marcuse Karl Marx Maurice Merleau-Ponty
Richard Rorty Jean-Paul Sartre Edward Said
Charles Taylor Paul Virilio Ludwig Wittgenstein

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Frank Cunha III
I Love My Architect – Facebook


Open Call: Topics for Future Articles

::::::: TOPICS ::::::: 
  • ARCHITECTURE: FROM THE INSIDE OUT
  • I LOVE MY ARCHITECT: I DON’T CARE IF HE/SHE IS INSANE    
  • ARCHITECTURE IN MOTION: HOW TRANSPORTATION IN AMERICA CHANGED THE CITY AND ALTERED OUR ENVIRONMENT
  • HOW DO DESIGNERS SEE THE WORLD AROUND THEM: ARTISTIC EXPRESSIONS OF AN ARCHITECT
  • LEARNING FROM TWITTER: HOW I DESIGN & CARVE SPACE UTILIZING SOCIAL MEDIA

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Sincerely,
Frank Cunha III
I Love My Architect – Facebook


Architecture in Motion

Riverside Museum by Zaha Hadid Architects

When I think of the “flow” of a space the first image to come to mind is the motion of the occupant and how he or she experiences the space.  Of course the building itself (and/or site) can have a flow as well (visual flow) both outside with the facade (think strong horizontal/vertical features, or curved forms of aluminum panels for example) or inside with the finishes (think flow of flooring material/texture from one space to another), but to me the perception of the space through movement has a greater impact on the occupant’s perception and experience of the space.  If the “space” is correctly designed by someone who understands the flows of a particular building type, it will certainly make for a joyous experience for the occupant.  When this not the case the occupant will feel uneasy and will not be able to have a pleasant experience.  A seasoned designer will be able to work simultaneously in plan and section to develop a design concept that will result in proper flow for the type of function being asked of the space that he/she is creating.  When the layout of the space, the material/textures used, the colors used, the use of light, and the flow of movement of  are properly executed the space just feels right.

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Frank Cunha III
I Love My Architect – Facebook