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Les espaces d ’ abraxzs , marne-la-vallee 1982

Les espaces d ’ abraxzs , marne-la-vallee 1982. F.Ricardo Bofill. Student number : 4986020 Name : Sang-Hwa Choi. Where is the Marne-la-Vallee?. Ricardo Bofill. The Fifth Element(1997). Le Theatre. L ’ Arc. Le Palais. Le Theatre. Le Theatre. L ’ Arc. L ’ Arc.

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Les espaces d ’ abraxzs , marne-la-vallee 1982

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  1. Les espaces d’abraxzs , marne-la-vallee 1982 F.Ricardo Bofill Student number : 4986020 Name : Sang-Hwa Choi

  2. Where is the Marne-la-Vallee?

  3. Ricardo Bofill

  4. The Fifth Element(1997)

  5. Le Theatre L’Arc Le Palais

  6. Le Theatre

  7. Le Theatre

  8. L’Arc

  9. L’Arc

  10. Le Palais

  11. Le Palais

  12. Ricardo Bofill on Abraxas Les Espaces d'Abraxas, a complex consisting of Le Théâtre, Le Palacio and L'Arc, was conceived as a point of reference in the landscape, an inhabited monument in the context of the ville-nouvelle of Marne-La-Vallée and the result of a form of planning totally alien to the system of urban zoning that became the norm after World War II. The central space, in the form of a lawn-covered plaza and limited by the surrounding buildings, is all-embracing like a genuine open-air theatre. Mastery of concrete structures and of the system of prefabricated façades made it possible to use a comprehensive and highly complex architectural idiom. Although the methodology employed for Les Espaces d'Abraxas is related to previous projects by the Taller de Arquitectura, especially Walden-7 in Barcelona or La Petite Cathédrale in Cergy-Pontoise, this work is nonetheless the first volumetric exercise in space of such large dimensions. This proposed alternative to anonymous constructions in the suburbs is an example of how the team has managed to embrace different scales of architecture, from the conception of the basic volumes of the complex to the design of façades and urban furniture. Program 591 dwellings and public spaces. Client Le Palacio: CNH 2000. Le Théâtre and L'Arc: SAd'HLM, Les Trois ValléesGross area 47,000 m2

  13. Charles Jencks on Abraxas [...] Here [as in Bofill's Les Arcades du Lac near Versailles] modern concrete is used to do heavy Baroque tricks; again urban space is nicely moulded to form an enclosed "theatre" that steps down to a large "arch" and densely planted "arbre". But the handling of the classical language and technology is more sure. Nine-storey fluted glass columns alternate with pilasters of masonry and carry a triple capital of planting surmounted by a cypress tree! Is it the New Corinthian Order? Will giant, hormone-injected acanthus leaves shoot out of the six-foot high planters? Charles Jencks, Postmodern Architecture, pp. 161-62.

  14. Charles Jencks on the revolutionary message of Abraxas [...] Bofill and the Taller have shown that mass-production is not necessarily tied to any language of form - the machine aesthetic, as has been argued this century. The greatest orthodoxy of our time, that the fabrication process leads to an inevitable industrial style, is shown to be false. There must be several possible languages of mass-production and, as the Egyptians discovered, Free-Style Classicism is one of them. Charles Jencks, Postmodern Architecture, p. 146.

  15. Source : www.idehist.uu.se/distans/ilmh/pm/bofill-abraxas.htm www.ricardobofill.com

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