S
sleeksky
Guest
its now a cinema/film museum on the edge of parc bercy.
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A
andreapalladio
Guest
That's it. The Cinematheque moved there from the Trocadero.
4
4Pook
Guest
this one looks even crazier than Disney Hall, which is lovely and very thoughtful in the flesh. The only problem was that the shiny stainless part was blinding its neighbours, so they had put a big tarp on it. It is amazing inside and more simply constructed than I had imagined. This gives me high hopes for the AGO. If I was one on the neighbours though, I might not be so keen on the mass of the big huge block he has dumped on top of the rooms just south of the Walker Court.
T
tudararms
Guest
"The only problem was that the shiny stainless part was blinding its neighbours"
I guess they'll have to provide shades to all the hookers in the Bois"
I guess they'll have to provide shades to all the hookers in the Bois"
A
Archivistower
Guest
I think 4Pook is talking about Walt in LA. When I was there in September, there was no tarp, so they addressed the issue of the glare in some other way. Fabulous building, with thoughtful walkways all around it on the exterior.
If I recall, however, it was about 70c with LA's sun being caught and reflected all over the place like crazy. I came out of the experience pretty much well done.
If I recall, however, it was about 70c with LA's sun being caught and reflected all over the place like crazy. I came out of the experience pretty much well done.
A
adma
Guest
Here's the building's biggest celebrity fan, then
A
andreapalladio
Guest
They were going to sandblast the finish, or treat it somehow, to change it from shiny to matte, so as to keep the neighbouring residents from being fried by the reflection. I haven't read that they have acutally done this, however.
A
Archivistower
Guest
I thought the issue was more vehicles being blinded by reflections as they drove by. I don't recall anyone actually living close to the centre. En tout cas, if it was altered to be less reflective it was not apparent when I was there.
A
Abeja de Almirante
Guest
I am getting seriously tired of these new age architects like Gehry and Libeskind with their blown-apart multi-angled glass and steel open concept designs. And...just WTF was Thom Mayne thinking with that Big "O" at UofT's Graduate House.
Look today at the most famous buildings and buildings that have kept their appeal through the ages. You won't see any of the 1970's concrete slabs on that list, and I guarantee you, in 10-15 years when Libeskind's ROM green house starts to corrode and leak, we'll be cursing this glass and steel look as well.
Look today at the most famous buildings and buildings that have kept their appeal through the ages. You won't see any of the 1970's concrete slabs on that list, and I guarantee you, in 10-15 years when Libeskind's ROM green house starts to corrode and leak, we'll be cursing this glass and steel look as well.
B
building babel
Guest
What kind of architecture do you like? And why?
A
Abeja de Almirante
Guest
Architecture that appeals through the years, not the latest fad, like the current crumpled paper look. I like classic stone and masonry designs with classic European influence, like what the ROM was. We can still do it, even with today's labour and materials costs.
B
bizorky
Guest
What if those classic stone structures were once the so called fads?
S
scarberiankhatru
Guest
Re: good buildings. If appealing to you "through the ages" is a criteria, anything built in the past 30 years or less probably isn't going to stand much of a chance.
B
building babel
Guest
The "shock of the new" has probably always been with us, it's just that the "new" comes along far more frequently than before and is quickly replaced by another new "new". No wonder people are so often dazed and confused and longing for the good old days.
In Egypt, by contrast, creative expression and architecture were controlled by the heads of state - who were also gods - and went virtually unchanged for 3,000 years.
The only real exception was the Amarna school of art which king Akhenaten ( probably King Tut's daddy ) imposed around 1350 BC. He kicked out most of the deities, promoted the sun god, and made it clear to everyone that he was the sun god's representative on earth. The powerful priests were pissed off. He instructed the artists to produce more honest and expressive representational art ( it almost looks Ben Wicks cartoonish ), including intimate portrayals of the royal family playing with their rug rats, instead of the rigidly posed and formally idealized figures we're all familiar with. That must have been "shock of the new" big time for everyone concerned, because most of the new art and temples were destroyed as soon as Akhenaten died. Art from that time is very scarce, though the ROM has a few small examples on display in their Egyptian gallery on the third floor. Akhenaten changed architecture too - smaller blocks of stone were used in his buildings, and the language of the carved inscriptions was changed to reflect common speech.
In Egypt, by contrast, creative expression and architecture were controlled by the heads of state - who were also gods - and went virtually unchanged for 3,000 years.
The only real exception was the Amarna school of art which king Akhenaten ( probably King Tut's daddy ) imposed around 1350 BC. He kicked out most of the deities, promoted the sun god, and made it clear to everyone that he was the sun god's representative on earth. The powerful priests were pissed off. He instructed the artists to produce more honest and expressive representational art ( it almost looks Ben Wicks cartoonish ), including intimate portrayals of the royal family playing with their rug rats, instead of the rigidly posed and formally idealized figures we're all familiar with. That must have been "shock of the new" big time for everyone concerned, because most of the new art and temples were destroyed as soon as Akhenaten died. Art from that time is very scarce, though the ROM has a few small examples on display in their Egyptian gallery on the third floor. Akhenaten changed architecture too - smaller blocks of stone were used in his buildings, and the language of the carved inscriptions was changed to reflect common speech.