Wat Pra Keaw

Temple Of Emerald Buddha

Wat Phra Kaew or the Temple of the Emerald Buddha (officially known as Wat Phra Sri Rattana Satsadaram) is regarded as the most important Buddhist temple in Thailand. Located in the historic centre of Bangkok, within the grounds of the Grand Palace, it enshrines Phra Kaew Morakot (the Emerald Buddha), the highly revered Buddha image meticulously carved from a single block of jade.

The Emerald Buddha (Phra Putta Maha Mani Ratana Patimakorn) is a Buddha image in the meditating position in the style of the Lanna school of the north, dating from the 15th century AD.

Raised high on a series of platforms, no one is allowed near the Emerald Buddha except HM the King. A seasonal cloak, changed three times a year to correspond to the summer, winter, and rainy season covers the statue. A very important ritual, the changing of the robes is performed only by the King to bring good fortune to the country during each season. The temple of  Emerald Buddha is beautifully decorated and has a great sense of peace about it.

The construction of the Temple of Emerald Buddha started when King Buddha Yodfa Chulaloke (Rama I) moved the capital from Thonburi to Bangkok in 1785. Unlike other temples, it does not contain living quarters for monks; rather, it has only elaborately decorated holy buildings, statues, and pagodas. The main building is the central 'ubosot' (ordination hall), which houses the Emerald Buddha. Even though it is small in size, it is the most important icon for Thai people.

Other attractions in Wat Phra Kaew include a model of Angkor Wat, which was built under the order of King Rama IV when Cambodia was under Siamese control. The model was later recreated in plaster at the behest of King Rama V to celebrate the first centenary of the Royal City. Also, don't miss the Balcony, which can be compared to the temple wall. The murals inside tell the Ramayana epic in its entirety. On the columns of the balcony are stone inscriptions of the verses describing the murals. Each gate of the Balcony is guarded by the five-metre tall 'Yaksa Tavarnbal' (Gate-keeping Giants), the characters taken from the same epic.

A guide is on duty from 10:00 to 14:00 and Personal Audio Guide (PAG) is available in English, French, German, Japanese, Mandarin Russian, and Spanish. Remember that 'wats' (temples) are sacred places and you must dress appropriately. No shorts, slippers, sandals, or revealing tops, otherwise you simply won't be allowed in. There's also a facility that offers proper trouser wear rental should you need it. Admission to the temple is now 400 baht! Remember the temple closes early (15:30) so don't arrive too late!

Reference : http://www.bangkok.com/attraction-temple/wat-prakaeo.htm#

The Grand Palace

If there is one must-see sight that no visit to Bangkok would be complete without, it's the dazzling, spectacular Grand Palace, undoubtedly the city's most famous landmark. Built in 1782 - and for 150 years the home of the Thai King, the Royal court and the administrative seat of government - the Grand Palace of Bangkok is a grand old dame indeed, that continues to have visitors in awe with its beautiful architecture and intricate detail, all of which is a proud salute to the creativity and craftsmanship of Thai people. Within its walls were also the Thai war ministry, state departments, and even the mint. Today, the complex remains the spiritual heart of the Thai Kingdom.

The Grand Palace

Within the palace complex are several impressive buildings including Wat Phra Kaew (Temple of the Emerald Buddha), which contains the small, very famous and greatly revered Emerald Buddha that dates back to the 14th century.

The robes on the Buddha are changed with the seasons by HM The King of Thailand, and forms an important ritual in the Buddhist calendar. Thai Kings stopped living in the palace around the turn of the twentieth century, but the palace complex is still used to mark all kinds of other ceremonial and auspicious happenings.

Grand Palace Layout and Orientation

The palace complex, like the rest of Ratanakosin Island, is laid very similar to the palaces of Ayutthaya, the glorious former capital of Siam which was raided by the Burmese. The Outer Court, near the entrance, used to house government departments in which the King was directly involved, such as civil administration, the army and the treasury. The Temple of the Emerald Buddha is located in one corner of this outer court. The Central Court is where the residence of the King and halls used for conducting state business were located. Only two of the throne halls are open to the public, but you'll be able to marvel at the exquisite detail on the facades of these impressive structures.

The Inner Court is where the King's royal consorts and daughters lived. The Inner Court was like a small city entirely populated by women and boys under the age of puberty. Even though no royalty currently reside in the inner court, it is still completely closed off to the public. Despite the proximity of the Grand Palace andWat Phra Kaew, there's a distinct contrast in style between the very Thai Temple of the Emerald Buddha and the more European inspired design of the Grand Palace (the roof being the main exception). Other highlights are Boromabiman Hall and Amarinda Hall, the original residence of King Rama I and the Hall of Justice.

Royal Reception Halls

Nowadays its impressive interior is used for important ceremonial occasions like coronations. It also contains the antique throne, used before the Western style one presently in use. Visitors are allowed inside the spacious European style reception room or Grand Palace Hall (Chakri Maha Prasat). Then there's the impressive Dusit Hall, rated as perhaps the finest architectural building in this style, and a museum that has information on the restoration of the Grand Palace, scale models and numerous Buddha images.

Important Note about the Grand Palace:

A strict dress code applies. The Grand Palace with The Temple of the Emerald Buddha is Thailand's most sacred site. Visitors must be properly dressed before being allowed entry to the temple. Men must wear long pants and shirts with sleeves (no tank tops. If you're wearing sandals or flip-flops you must wear socks (in other words, no bare feet.) Women must be similarly modestly dressed. No see-through clothes, bare shoulders, etc. If you show up at the front gate improperly dressed, there is a booth near the entrance that can provide clothes to cover you up properly (a deposit is required).

Reference : http://www.bangkok.com/attraction-palace/grand-palace.htm

Bord Gáis Energy Theatre and Grand Canal Commercial Development

 Dublin, Ireland

DESCRIPTION

Located on the Dublin waterfront, the Bord Gáis Energy Theatre, formerly the Grand Canal Theatre, is a 2,000-seat theater at the heart of a multi-use complex conceived for by the City of Dublin as part of a plan to revitalize its docklands.  Studio Daniel Libeskind completed the theatre in 2010 and an office complex called the Grand Canal Harbour development a year later.

The theater overlooks a public plaza designed by Martha Schwartz Associates.  Like a grand outdoor lobby, the plaza invites the public to view the soaring glass façade of the theater much like a glass curtain, which tilts back in space in diagonal pleats. The public can gaze into its Piranesian interior of horizontal ramps and diagonal pilotes.

The design concept for the theater is, in fact, stages—the theater’s ‘real’ stage and the plaza as another, equally real but more provisional and changing stage.  At night, when the second floor lobby of the theater is crowded with theater-goers and the theater’s tilting façade and plaza are illuminated, the latter ‘stage’ offers a particularly dramatic experience.

The Bord Gáis Energy Theatre is flanked on the street side by two office buildings designed by Libeskind.  The two office blocks comprising the commercial development provide sustainable and sophisticated work environments.

“The opening of Daniel Libeskind’s new Grand Canal Theatre, a razzle dazzle production in its own right, threatened to upstage the gentle ballet on the building’s main stage. With its dramatic, four story glass facade, sharply angled roof line, and turbulent diagonal lines, the debut of Libeskind’s latest creation was a major cultural happening for Dublin…” – Fast Company (March 2010)

AWARDS

2010 – IAA Annual Prize, 2010 – Real Estate Awards – Best European Scheme , 2009 and 2010 – BREEAM Excellent certification for the Grand Canal Square Office buildings.

STATUS: Completed

CLIENT :Ramford Limited, Chartered Land

BUILDING SIZE :148,171 sq.ft (Theatre, 2,100 seating)

                        226,992 sq.ft (South Office Block)

                        358,590 sq.ft (North Office Block)

REFERENCE: http://libeskind.com/work/bord-gais-energy-theatre-and-grand-canal-commercial-development/

Vanke Pavilion

 

 Vanke Pavilion in Milan, Italy

Commissioned by the innovative Chinese real estate company, Vanke, the Pavilion will be a highlight of the 2015 World Expo hosted in Milan, Italy.

The pavilion will explore key issues related to the Expo theme of “Feeding the Planet” by reimagining a traditional Chinese Shitang (dining hall). The interior exhibition design is lead by Ralph Appelbaum (New York/Beijing) and graphic design by Han Jiaying (Beijing).

The concept for the pavilion was inspired by traditional Chinese landscape painting—rock formations, rice fields, and prehistoric outcrops. The pavilion aims to tell the story of civilization, technology and the 21st Century as well as offer a space for reflection and a celebration of different cultures.

Situated on the edge of the Lake Arena, 1000-square meter pavilion appears to rise from the east forming a dynamic vertical landscape. The design features a sinuous geometrical pattern that flows between inside and outside. The red serpentine form carves an opening up the middle to a grand staircase clad in a white mosaic tile. A roof-top observation desk will provide stunning views of the lake and near-by Italian pavilion. The pavilion is clad in an innovative three-dimensional red metalized tile that Libeskind designed with the Italian company Casalgrande Padana, the geometric ceramic panels not only create an expressive pattern, but they possess highly sustainable self-cleaning and air purification properties.

The exhibition is organized on two independent routes, from the inside towards the outside, and with a garden that is found on the roof. Inside visitors encounter a constellation of more than 300 screens mounted on a matrix of bamboo armatures. Short films weave throughout the series of screens capturing a glimpse into the everyday life of ordinary Chinese citizens expressing the importance of the Shitang in their daily lives.

Status :Under construction
Client :Vanke
Building size : 12 meters high740 mq gross floor area (exhibition, service & VIP levels)  130 mq roof terrace

The Pavilion will open in May 1, 2015 and will remain on view till October 31, 2015.

Reference :  http://libeskind.com/work/vanke-pavilion/

Broad Art Museum at MSU

Place: East Lansing, MI, Country: United States
Owner: Michigan State University
Design architect: Zaha Hadid Architects- London

Vibrant is a fascinating word. It can be used to describe people, such as Eli and Edithe Broad; institutions, such as the Michigan State University, and can be applied to buildings as well.
It is the exact definition that comes to mind when looking at the Broad Art Museum at the Michigan State University, designed by Zaha Hadid Architects.

Realized in 2012 thanks to a donation by philanthropists and art enthusiasts Eli and Edithe Broad, this contemporary art museum is hard to confuse with any other. Its pleated stainless steel panels give it a quite peculiar appearance, intended to “reflect the topographic and circulatory characteristics of its surrounding landscape. Its outer skin echoes these different directions and orientations – giving the building an ever-changing appearance that arouses curiosity yet never quite reveals its content.“ (Zaha Hadid Architects)

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The building is located on the northern edge of the MSU campus, facing Grand River Avenue, thus acting both physically and ideally as a connection between the campus, with its brick buildings and quiet areas crossed by footpaths, and the adjacent urban landscape.

The reflective skin of the building copes with this different kinds of perception, by reflecting them in various manners, depending on time of day, season and weather conditions, and somehow manipulating and incorporating their essence into the museum.

On a floor area of 46,000 square feet, divided in three levels, the museum includes exhibition spaces, an educational facility, a works on paper study center, administration offices, a café and a shop as well as a public plaza and a sculpture garden.

Internally, more “introflexed” spaces alternate to areas when the visual relationship with the surrounding, through the pleated envelope, is evident; this is the case of the lobby, the education wing and the One West Gallery, an impressive double-height space, suitable for large artworks and installations.

Reference:www.inexhibit.com/case-studies/eli-edythe-broad-art-museum-michigan-state-university-zaha-hadid/

MUSÉE DES CONFLUENCES

 

On 20 December 2014, the futuristic Musée des Confluences opened in the French city of Lyon. This science centre will shed light on questions concerning future society and the interplay of the natural and social sciences. The museum was built on a headland at the confluence of the Rhône and Saône: hence the name of the museum. 

Architect: Wolf D. Prix / Coop Himmelb(l)au
Location: 86, quai Perrache, Lyon 69002, France

Photo: Karin Jobst

This special location is also reflected in the long, triangular shape of the building. The museum, which was erected on supports, rises above a plot of land measuring around 21,000 m². With dimensions of 180 metres in length, 90 metres in width and up to 37 metres in height, the building offers about 30,000 m² of usable space and a gross floor space of about 46,000 m². Visitors can meander, like a river, among both closed-off and open exhibition spaces and can access new currents of knowledge by means of countless passages, ramps and levels.

The steel-and-glass façade of the city’s new trademark was constructed by the German company Josef Gartner GmbH. The complex shape of the building, designed by the Viennese architects surrounding Wolf D. Prix of Coop Himmelb(l)au, consists of a crystal and a cloud. In order to build such free architectural shapes, Gartner’s engineers had to overcome several statics-related and structural problems and develop entirely new solutions. 

Photo: Karin Jobst

The architects and Gartner engineers worked together to make a 30-metre-high funnel of steel and glass for the entryway and optimize the nodes of the steel construction. Using a 3D computer model, every single one of the 160 nodes was individually designed, into each of which six steel struts made of rectangular hollow profiles flow together. The direction and axis of each splice plate were determined for each node at the computer; this enabled both the correct cutting of the hollow profiles and a more elegant design for the nodes themselves.

Photo: Karin Jobst

The 30-metre-high funnel required the manufacture of spherically formed panes, which pushed the designers to the edge of what is technically possible. Until now, curvatures with radii of under 500 millimetres existed only for the cockpit windows of jet planes. The museum’s extra-large panes, which have an edge length of up to 4.5 metres, underwent a complex manufacturing process and were curved while warm in order to achieve the desired shape. Only then could the edges be sanded to the exact measurements so they would fit to the millimetre. 

Photo: Karin Jobst

The steel construction of the ‘crystal’ in the entrance area comprises 32 differently inclined surfaces which Gartner created from about 650 tonnes of steel. In order to avoid gaping joints in the complex geometry, parts of the primary and secondary steel structure were connected with screws inserted in profile. The upper plate was set back a few millimetres before being welded to the pipe. The steel components are force-locked so that the high pressure will be transferred only over the wall of the pipe. A strictly controlled prestress sequence ensures a homogeneous distribution of tension at the junction points in a cross-section of pipe. After painting the pipe walls, these joints are no longer visible on the completed structure.

Photo: Karin Jobst

Furthermore, Gartner developed a new technique for connection and assembly: rods with two-sided ball joints which balance out installation tolerances in all directions. Many trips with special transport were required to get the building components from Gundelfingen an der Donau to the construction site: the largest steel pieces were up to 4.5 metres wide and 20 metres long.

Reference : www.detail-online.com/architecture/topics/crystal-and-cloud-musee-des-confluences-by-coop-himmelblau-024549

Albi Grand Theater

Albi GrandTheater / Dominique Perrault Architecture 

 

© Georges Fessy

Architects: Dominique Perrault Architecture
Location: Grand Théâtre, 81000 Albi, France
Area: 34000.0 sqm
Year: 2014
Photographs: Georges Fessy, Vincent Boutin



Local Architect: Christian Astruc Architects
Structure: VP GREEN
Mechanical Engineering: ETCO
Economist: RPO
Scenograph: Changement à vue
Acoustics: Jean-Paul Lamoureux

© Vincent Boutin

From the architect. The Albi Grand Theatre is going to transform the texture of the city as well as its cultural influence.

This building appears as an outstanding architectural symbol, on the outskirts of the historic

 centre.

© Vincent Boutin

We have given priority to the presence of the Grand Theatre instead of the cinemas, in order to organize around it a network of public spaces and of cultural facilities. The Grand Theatre will be its centre.Site Plan

Along the Alley of Culture, different public spaces will follow one another, punctuating a walkway going from the cathedral to the Rochegude big public park. This path begins with the creation of a square at the level of the Sibille Boulevard, then arrives on the theatre place, and continues on the cinemas place in front of the Athanor, to finally open onto the public garden. That’s the idea of an « urban walkway » animated by the succession, the juxtaposition and the interaction of several cultural buildings.

© Georges Fessy

We chose to clearly identify those different buildings with places which give them an address in the city. Therefore, the preserved Athanor building is modified to create the entrance of the cinemas. It becomes the visible part of this « iceberg », offering a big lobby, with maybe some shops and a café at the square level. In the basements, we find all the screening rooms. So the base of the theatre place is totally occupied by the cinematographic complex. This layout allows us to liberate all the public space and to open it generously to the urban activity and the population.

Ground Floor Plan

The very simple geometry of the theatre allows a setting up along the Général de Gaulle Avenue, in an attempt of urban continuity and proximity with the multimedia library, generating two more or less triangular places on the side of the “cultural alley”. Those two public spaces, new in this urban infrastructure, are laid around the theatre: one is opened towards the historic centre and the other towards the neighbourhood.

We searched a compact volume which allows the theatre‘s dimension to fit for the best into its urban surrounding. We also searched some functional, simple, direct and immediate principles, especially for the access, by the public space, of the trucks, on the same level than the stage and the backstage.

© Georges Fessy

It doesn't necessarily means that this back side of the theatre is « dead », because upstairs we can find the boxes and the administration, and above the experimental room. So, the four sides of the prism are opened and inhabited.

Of course, the only opening on the theatre place is fully glazed like a big window towards the city, welcoming all the lobbies, the galleries, the balconies and the big auditorium.

© Vincent Boutin

From this transparent volume, we’ll reach the experimental room on one hand and on the other hand the roof-terrace, where will be set up the hanging garden and its restaurant. From this height, we’ll have an open view on the outline of the city of Albi and on the surrounding landscape.

The building is made of concrete, covered with bricks. We will use this material for the outside as much as the inside, for the floors as much as the walls and the ceilings, to create a mono material architecture.

Section 2

To the solidity of the brick, we oppose a smooth and lightweight cover, which will dress up the prism of the theatre. This cover of metal mesh, red copper coloured, which doesn’t rust, like clothing, will take on the verticality of the building on two sides, and will take away from it on the other sides, to open like a big drop cloth on the theatre place and the cinemas one.

© Georges Fessy

The curves and counter curves required for this static mesh create a free, happy and lyric architecture. We’ll also see there the metaphor of the drop cloth or the evocation of an opera stage design.

© Georges Fessy

But most of all we’ll find there some brilliance, reflection, colour, which reminds an architecture « dressed in a bright light ».

This metallic woven skin, as a lace, is going to protect the functions of the theatre without separating them from the functions of the city. It’s going to filter the light and to break the wind and the rain.

© Georges Fessy

This big ornament has some sustainable qualities. The mesh will adjust to the spaces and the uses that it covers. It will be possible to weave it larger to offer some views from inside to outside or tighter on other parts, to hide some structural walls, or to filter, like a sun break, the light in the big foyers.

© Vincent Boutin

This tight veil will clear up some big arks at the public spaces level, to let the visitors and spectators come in, and then will rise up in the sky over the built volume to create an immaterial figure coming up in the landscape from the roofs of the city of Albi.

Axonometric Third Floor Plan

As a conclusion, the measures that will be taken are:

- The use of the basement to inset there some car parks and movie theatre,

- The qualification at the ground level of public spaces dedicated to each cultural building,

- The search of simplicity and compactness, offering an efficient, flexible and economic theatrical instrument.

Reference : http://www.archdaily.com/563798/albi-grand-theater-dominique-perrault-architecture/