Author Meng Yao 813407 Li Silu 813974
This is to certify that
Great Thanks to
Professor. Paola Pellegrini1.The thesis comprised only our orignal work towards the Master Degree 2. All the materials has been redrawed or has reference from website ,magazines and material Supervisor
Examination Date Submission Date
Pro. Paola Pellegrini
Dipartimento di Architettura e Studi Urbani Politecnico di Milano
Architettura Costruzione Conservazione Università IUAV di Venezia
30/11/2015 18/12/2015
1. Motivation
2. City Curating
2.1 The definition of City Curating
2.2 The importance of City Curating
2.3 References
2.2.1 Venezia Biennale
2.2.2 TianziFang Art District
2.4 Conclusion: City Curating as one of the essential method in urban design
3. Analysis part
3.1 Murano overall analysis
3.1.1 Murano in Venice
3.1.2 Analysis of Murano
3.1.3 Design area selection
3.1.4 Venice and Murano: a urban space types comparison
3.2 Conclusion:
4. Design application
4.1 Overall design concept: Capturing Transparency
4.1.1 Glass line
4.2.2 Master Plan
4.2 Design strategy
4.2.1 Story Line
4.2.2 Node 1: Introduction about Murano
4.2.3 Node 2: Information Center
4.2.4 Node 3: Historical showroom preservation
4.2.5 Node 4: City installation
4.2.6 Node 5: City green lung
4.2.7 Node 6: City service addition
4.3 Further design Glass art musuem addition Node 7
4.3.1 Case study
4.3.1.1 Corning Glass art Musuem
4.3.1.2 Rolex Learning Center
4.3.2 Design expression
4.3.2.1 Plans
4.3.2.2 Sections
4.3.2.3 Renderings
5, References
INDEX
Motivation
Fig1: VITRARIA Glass +A Museum,2015
INTRODUCTION
One day, when we were wondering in Venice, we
occasionally meet an musuem, which is called
VITRARIA Glass +A Museum. It is located in
the vibrant area of Dorsoduro, and the building
was transformed from Palazzo Nani Mocenigo.
It holds plenty art pieces from all over the
world, especially contemporary glass art made
by different artists, most of the glass art pieces
was made in Murano, an island which belongs
to Venice Province. In that Museum, we met the
glass artist Luciano Vistosi ’s works, (shows in
photos on the right) and many other fabulous
glass art pieces. Those arts themselves are in a
very high artistic attainments, but from visual
effect they are not releasing their own brilliance
very well, since they are not displaying in an very
elaborated way. Shortly afterwards,
one idea
come
to our mind was that
if there could have a better
way to show these great glass art pieces
. Then the
story starts...
INTRODUCTION
Glass Windows in Murano
Glass Museum in Murano - Museo Vetro
Glass Art in Campo Santo Stefano
With the curious of glass arts and how to express the essential beauty of the art pices, we went to Murano Island, for this is the hometown of vetro arts and the glass historical production center of whole Venice. In there, We find three ways for visitors to enjoy glass arts. The first one is by entering the show rooms where are used to sell glass artcrafts,. The second one is by visiting museum where exhibits lots of masterpieces not only from the modern artists but also from great masters of acient times, and the third one is by walking in openspaces of the city to see glass pieces.
Of course the windows attracts people most, and because of the exsistance of the showrooms, Calle Fondamenta dei Vetrai and Fondamenta Manin become the most two popular streets to tourists. However, besides these two streets, we didn't find many art pieces in openspaces except the one shows a big blue flower in Campo Santo Stefano. In addition, in Murano glass museum, we meets the same question which is similar to the one when we visit Vitraria Glass +A musuem.
Furthermore, only using two commercial streets to show the beauty of glass arts are not enough, especially Murano is an island with abundant history and long time production of glass crafts. Therefore, we would like to know if we could using the openspaces of Murano to build some new platforms for showing the art pieces in order to give people more opportunity to feel the atmosphere of Murano, or if we could find a better way to exhibits the art pieces in musuems for people to understand more...
City Curating
Chapter tWO
2. City Curating
2.1 The importance of exhibition of the city
2.2 The definition of City Curating
2.3 The importance of City Curating
2.4 References
2.4.1 Venezia Biennale
2.4.2 TianziFang Art District
CITY CURATING
Curating, in the first instance, is the work performed by a curator. In Western countries ,curating is an cultural industrial which starting from hundreds’ years ago. mainly refers to taking responsibility for archive, information, or historical records. (Sarah Chaplin, Alexandra Stara 2009, Curating Architecture and the City). A traditional curator in the past century would be someone looking after a collection of valuable artefacts in musuem, ensuring they are kept in the best condition. At that time, curating is considered to have more relationship with museology. After World War ,a lot of countries start to build contemporary art musuems or galleries , quantities of excellent exhibitions spring up from that period. The most famous one is Venice Binnnale, which is one of our main reference in the research later.
Nowadays, curating has become a loosely defined creative activity. It has shifted considerably towards a process of display and interpretation and away from site or collection specificity. No longer implying an exclusive link to a collection, the contemporary curator is more like an artist, representing the world through a wide variety of media,locations and intentions. In China, the curatorial team are also mainly lead by contemporary artists or archtects .such as Fan di an( Main Director of National Art Museum of China ) , Wang Hengsheng(Main director of CAFA Art Museum) , Liu Heng Female leading architects, urban designers and so on. Curating exhibition is more like an way of expressing one specific theme. Such as, Bi- city Biennale of Urbanism/ architeture in Shenzhen. Beijing design Week.
Curating city was first conclusion by Sarah Chaplin Alexandra Stara in 2009 in the book ‘ Curating Architecture and the City’ In this book, curating city was considered as cultural heritage and public space, and critiques recent contemporary curatorial, urban and architectural practice, such as architectural exhibitions, public galleries, regeneration projects, city tours, heritage archives, urban art installations and so on. The book is chaptered in three sections:‘City tours and urban reveries’, ‘Rethinking curatorship, rethinking architecture’, and ‘ Reinterpreting public space and cultual heritage’, The book is the collection of 21 authors’ researches, each author extends the notion of curatorship from museological practice into new spatial and interpretive territories. There is a saying made by Vincenzo Sanfo who is the chief curator of in La Biennale di Venezia - 56th International Art Exhibition ‘Curator is the main person about solving problems in the process of curating exhibition’ .
Our research argued that the curated city should be considerd as an ecosystem where urban planers are able to contribute and engage with the public in a more accessible way, re-intergrating visual artistics practice into broader urban society , rather than only through the the visual arts in museuological institutions. Especially caring about urban green system, urban traffic, abandoned space, population mobility. During the design application. We are focusing on reforming Murano as a site that can be read and interpreted as a space in a more artistic way, by utilizing several ways of urban transformation.
In Sarah 's books, we could see city curating is a huge system with lots of methods to deal with urban problems, but in this case what we are focusing on is how can we accomplish the city curating process by using the exhibition method.
How much advantages can be brought to a city by holding a success exhibition? we could not help taking our mind back to the big celebrations of past times. For example: 1851's Crystal Palace in London; 1889, Paris with great Eiffel Tower; Venice Biennale 1980 with Aldo Rossi's architecture and some new technical attemptations, and so on.
Without doubts, these exhibitions not only spread the newest information all over the world but also bring the city itself a lot of benefits. A nearest example is that during Shanghai Expo 2010 in China, according to the official statistics, there are about 600,000,000 RMB income by only selling tickets, HongKong Pavillion can service 7000 people in just one day and Danmark Pavillion 25,000 people per day. Besides the economic profits, culture influences also take it own importance. Knowledge can be acquired by people after they visit one exhibition, and with the activity of visiting itself, people could have more chances to contact with others and find a new special angle to understand part of the world.
The Graphs above shows the classfication of exhibitions, and in traditional way, they could not combine, but in city curating way they can merge together and run by a guided system.
the difiNitiON aNd iMpOrtaNCe Of City CuratiNg
exhibitiON as a MethOd Of CuratiNg City
1980 Biennale, Venice
1889 Expo, Paris
2014 Antique Biennale, Paris
Commodity sales EXPO Street Shows Museum Exhibition Classification Exhibition Events Commercial Showroom Gallery Biennale Trade fair
ANALYSIS - VENICE
Jan.
Feb.
Mar.
Apr.
May.
Jun.
Carnevale Su e Zo per i Ponti
Benedizione del Fuoco
Festa di San Marco Basilica di San Marco.
Bacino di San Marco, the island of Sant’Elena and the Punta della Dogana.
Festa e Regata della Sensa
San Nicolò del Lido & Bacino di San Marco Across Venice. Mare Maggio Arsenale. Vogalonga Doge’s Palace Veneto Jazz Around Venice Marghera Village Estate Via Orsato 9, Panorama car park, Marghera Biennale Giardini di Castello
Festa di San Pietro San Pietro in Castello. Venezia Suona All over Venice.
Veneto Jazz Around Venice New Year’s Day swim Lido
Regata delle Befane Grand canal Veneto Jazz Around Venice Veneto Jazz Around Venice Veneto Jazz Around Venice Piazza San Marco
eVeNts iN VeNiCe
Jul.
Aug.
Sep.
Oct.
Nov.
Dec.
Marghera Village Estate Via Orsato 9,
Panorama car park, Marghera Biennale Giardini di Castello Biennale Giardini di Castello Biennale Giardini di Castello Biennale Giardini di Castello Biennale Giardini di Castello
Marghera Village Estate Via Orsato 9,
Panorama car park, Marghera
Palio delle Antiche Repubbliche Marinare Bacino di San Marco
Venice Airport Festival
Forte Bazzera, via Bazzera, Tessera Arena di Campo San Polo Campo San Polo Festa del Redentore
Bacino di San Marco, Canale della Giudecca
Ferragosto – Festa dell’Assunta Tourist information
Festa di San Giacomo dell’Orio Campo San Giacomo dell’Orio.
Festa di Liberazione San Polo, campo dell’Erberia.
Venice International Film Festival sea-facing Lido esplanade
Asolo Art Film Festival Asolo
Le Giornate del Cinema Muto Gemona
Christmas Around Venice
Sagra del Mosto Island of Sant’Erasmo. Venice Marathon Starts in the town of Stra
Festa di San Martino Around venice
Festa della Madonna della Salute Church of Madonna della Salute Veneto Jazz
Around Venice Veneto Jazz
Around Venice Venice have lots of events all though the year, some events depends on exhibitions with musuems, and some can be held in public
spaces or theatres, like carneval in Faberary. Both the Exhibitions and the festivals attracts tourists all over the world, and make Venice a whole year busy city with tourism.
From the diagram below we could see all Venice's events from the beginning of the year to the end of the year. In these events, Venice Biennale last for about six month, and with its strong influence in art and architecture, lots of artists and designers go for it to absorb new ideas and information from Biennale. In addition, normal visitors from other professions also go to see biennale for its famous reputation.
In the analysis of Venice biennale, we would like to explain how does it work and how to use the exhibition itself to activate the city.
ANALYSIS - VENICE EVENTS
Exhibition Area Distribution In Venice
Giardini & Arsenale Temporary Exhibition Spots Big Museums
Small Museums
There are many musuems in Venice, Some of them are used for permanent exhibitions, like Venice Accademia museum, Peggy Guggenheim Collection museum; and some are used for temporary exhibitions, for instance, pavillions in Giardini and Arsenale. Both the eter nal and temporar y exhibition make venice a culture and art centre in the world.
Main circulation in Giardini Open space in Giardini
giardiNi
The Venice Biennale has for over a century been one of the most prestigious cultural institutions in the world. Established in 1895, the Biennale has an attendance today of over 370,000 visitors at the Art Exhibition.
The history of the Venice Biennale dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival ever organized). In 1980 the first Intl. Architecture Exhibition took place, and in 1999 Dance made its debut at the Venice Biennale.
During the Biennale, Venice becomes the site where institutional and national gestures of inclusion and erasure enact national and global relations. As exhibition sites, the pavilions of the Venice Biennale and their respective locations, whether in the Giardini, the Arsenale, or scattered throughout the city of Venice, informs the reception of the art. At the Venice Biennale, the utilization of place for the presentation of art extends beyond the gallery to include the distribution of pavilions. The Biennale transforms the city of Venice, but is also informed by its topography, cultures, and histories. By reading the Biennale as heterotopic, it becomes possible to unravel the complex interactions that take place between various participants in relation to the city using geographic distribution as the guiding thread of analysis.
REFERENCES - VENICE BIANNALE
Exhibition Contemporary Exhibition Service/Toilets Making Words Educational Bar
Plan of Giardini
1, Palazzo 2, Olanda 3, Belgio 4, Spagna 5, Svizzera 6, Venezuela 7, Russia 8, Giappone 9, Repubblica di Corea 10, Germania 11, Canada 12, Gran Bretagna 13, Francia14, Repubblica Caca e Slovacca 15, Australia
16, Uruguay 17, Israele
18, Stati Uniti d’ America 19, Paesi Nordici 20, Danimarca 21, Finlandia 22, Ungheria 23, Brasile 24, Austria 25, Serbia 26, Egitto 27, Padiglione Venezia 28, Polonia 29, Romania 30, Grecia 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 12 18 16 17 22 21 24 23 30 25 26 27 28 29 12
1950 1989-91 Time 1994-95 1987-88 1964 1960-62 1956-57 1960-62 1932-38 1955-56 1953-56 1932 1909 1932 1913-14 1894-95 1914 1932 1951-52 1958-62 1987 1912 1953 1909 1938 1934 1984 1930-32 1958-60 1921-22 1952 1933-34 1951-52 1966 Book shop Pavillion South Korea Australia Brazil Uruguay Canada Uruguay Serbia Japan Venezuela Poland Great Britain Venice Russia Italy Switzerland Svezia/Norvegia/Finlandia Netherlands Germany Austria Denmark Spain Greece Israel
Design and construction of the art bookshop gallery
Design and construction of the Electa Bookshop Pavilion Content
Design and construction Design and construction Design and construction Design and construction
Design and construction Design and construction
Design and construction Design and construction Design and construction
Design and construction Design and construction Design and construction
Design and construction Design and construction Alteration
Alteration
Design and construction Design and construction Design and construction Extension
Design and construction Demolition and Reconstruction
Design and construction Demolition and Reconstruction Design and construction Restoration
Design and construction Restoration and Extention
Design and construction Restoration and Alteration
M. Papandreou
With the Collaboration of Brenno Del Giudice
Design and construction Restoration
Carlo Scarpa James F. Stirling Architect
Seok Chui Kim Phlip Cox
Amerigo Marchesin Progetto e Realizzazione
BBPR
Lodovico Barbiano di Belgiojoso Enrico Peressutti
Ernesto Nathan Rogers Progetto e Realizzazione
Brenno Del Giudice Takamasa Yoshizaka Carlo Scarpa
Brenno Del Giudice Edwin Alfred Rickards Brenno Del Giudice
Aleksej Scusev Enrio Trevisanato Guido Cirilli Duilio Torres Bruno Giacometti Sverre Fehn Fredrik Fogh Ferdinand Boberg Gerrit Thomas Rietveld
Daniele Donghi Ernst Haiger Josef Holfman Hans Hollein Carl Brummer Peter Koch
Francisco Javier de Luque Joaquin Vaquero Palacios Zeev Rechter
Fredrik Fogn
giardiNi
Giardini develops in a very long time, and with lots of world famous architects' masterpieces, it becomes one of the most famous modern architecture pilgrimage place in Italy. Also the organization method of the construction process is learned by lots of new city planners and curators. Though Giardini, we could understand both the exhibitions of each year and the architecture history trail of every building. Giardini is an alive space always with new information and fresh art ideas.
REFERENCES - VENICE BIANNALE
1808The first gardens all italiana 1839
The construction of a cavallerizza 1867
The project for the renovation of the Giadini 1880
The new Romantic gardens 1893
The construction of the green house to house plants in winter 1895
The first international Art Exhibition of the city of Venice
Venezuela
Austria Pavillion
1, Corderie/Artiglierie 2, IILA Istituto Italo-Latino Americano Bolivia Colombia Costa Rica Cuba Ecuador EL Salvador Guatemala Honduras Peru Repubblica Dominicana 3, Cile
4, Emirati Arabi Uniti 5, Tyrchia
6, Padiglione Italia
7, Repubblica Popolare Cinese 8, Omaggio a Pietro Cascella 9, ACI
Automobile Club D’ Italia
Exhibition Contemporary Exhibition Service/Toilets Making Words Educational Theatre Bar
Plan of Arsenale
1 2 3 4 5 6 7arseNale
REFERENCES - VENICE BIANNALE
Main circulation in Arsenale
Open space in Arsenale
The Arsenale is the largest pre-industrial production centre of the world. Its surface occupied forty-six hectars, and it would host up to 2000 workers a day in full swing. It is an important place for Venice, not only because the Serenissima fleet was built there, but also because these shipyards, depots and workshops were the symbol of the military, economical and political power Venice had back in time.
The Biennale di Venezia first employed the Arsenale, specifically the Corderie area, in 1980, in occasion of the 1st International Architecture Exhibition curated by Paolo Portoghesi, who set up the Strada Novissima at the Corderie of the Arsenale. In the following years, the same spaces were used in other Art Exhibition for the Aperto section, devoted to the promotion of young artists. Since 1999, the Biennale has been particuarly attentive to all the restoration works designed for the Arsenale, a complex urban estate of high historical importance, in order to plan a new functional exhibition arrangement in the areas conceded by the Demanio Militare. 50.000 square metres (25.000 of which of indoor space) of the South-East area of the Arsenale have become the stable site of the Biennale activities, with exhibition spaces such as: Corderie, Artiglierie, Gaggiandre, Tese Cinquecentesche, Tese delle Vergini. Live performances have taken place at the Teatro alle Tese and at the Teatro Piccolo Arsenale. These buildings were properly renewed, restoring shingles, plants and floorings, providing up-to-date and equipped services for visitors: ticket-offices, bookshops, catering services, control rooms.
The new Padiglione Italia, destined to the exhibitions promoted by The Ministry for Cultural Affairs, overlooks the Gaggiandre and the 16th century Tese on one side, and the Giardino delle Vergini on the other. It hosts Italian artists in a significantly enlarged and requalified structure (in 2009 the exhibition space was extended from 800 to 1800 square metres).
At the same time a new reorganisation plan to access this area has been defined, specifically by realising a new entrance from the Ponte dei Pensieri, which links the Giardino delle Vergini to the Castello neighbourhood. This bridge is in fact a completely new access to the Arsenale, making the Giardini-Arsenale being perceived as a new unity.
Its entire surface (6000 square metres) having been used for the first time in 2008, on the occasion of the 11th International Architecture Exhibition, nowadays the Giardino delle Vergini also hosts a landscape installation by Gustafson Porter - Gustafson Guthrie Nichol firms.
exhibitiON iN the City
Besides Giardini and Arsenale, exhibitions in the city also attract people's attention a lot, there are three exhibitions ways in the city. First is display the showings in public spaces; Second is using Musums in the city to put some temporary art pieces in. Third is using the old residential houses in Venice.Because of the exhibitions, visitors get more chance to undersitand the city. For instance, Conservatorio di musica Benedetto Marcello is hidden in a small courtyard near Campo Santo Stefano, without exhibition, that is a totally private area where can not be entered freely, but during the time of biennale, the courtyard of Conservatorio is used to exhibit some artpieces, and visitors could see the beautiful colomns and architectures there. Also, the residential area are completely private without exhibitions, but visitors could get in free when they go biennale. In addition, Artists get more opportunities as well, during those six month, artist could showing there ideas and art pieces not only in Giardini, but also in the city. Furthermore, art pieces can assimilate into the city and become part of the city.
REFERENCES - VENICE BIANNALE
Temporary Exhibitions in Musuems in Venice
Temporary Exhibitions in Old Buildings
Temporary Exhibitions in Open Spaces
REFERENCES - Tianzi Fang
iNtrOduCtiON
Past days, Tianzifang (Chinese: 田 子 坊 ) is an arts and crafts enclave that has developed from a renovated residential area in the French Concession area of Shanghai, China.
The local residential area which is called Shikumen( 石 库 门 ）is very famous, also, old factories in this area can present the identity of Tizifang as well.
Nowadays, Tianzifang is known for small craft stores, coffee shops, trendy art studios and narrow alleys. It has become a popular tourist destination in Shanghai, and an example of preservation of local Shikumen architecture, with some similarities to Xintiandi.
1998 Tianzifang
2014 Tianzifang
Shanghai, China
Three Process in Shanghai City Development:
1, Abandon.
Abandon the old buildings and structures, using totally new city plans. For example, changes in Lujiazui, Huaihai road. 2, Form copy
Abandon the old buildings and structures, but use the styles of old buildings. For example, changes of New Tiandi. 3, Protection.
Protect the old buildings and structures, but add new functions. For example, Tianzifang.
Development Process of Tianzifang
1998 1999-2000 2004 2005
Chen yifei, a famous painter in China, set up his studio in Tianzi fang
Invited English designers reform the old factories Paintest Huang Yongyu Named this area Tianzifang.
The first Shiku men traditional housing start to rent to others
Tianzifang is named as a new art center in Shanghai. Old factories in this area
start rent to others
REFERENCES - TIANZI FANG
aNalysis Of tiaNzifaNg
Property belongs to the local residents, they operate the estate issue by themselves also. Using profession management companies to serve and manage for others.
Commercial is constituted by restuarants, coffee, bars, jewery shops, cloths shops, etc.
1, Commercial Ecological Constitution
Property Local residents Contract Enterprise
Management
Decoration
80% rent costs Management Company
20% rent costs
2, Tianzifang Development Model
Housing Housing Workshop Factory Gallery Cafe/ Restaurant Cafe/ Restaurant Retail Retail
1999 Architecture Function
2014 Architecture Function
Old photos of Shikumen
New photos of Shikumen
REFERENCES - TIANZI FANG
arChiteCture refOrMatiON
Residential Reformation
Studio in Taikang Road Oil Painting by Chen Yifei
CHEN Yifei, a famous painter in Shanghai, rent a house in Tianzifang, Taikang road 201-2#.
An photo exhibition in Jihua Gallery in Tianzi fang
Old Factory Reformation - Change Into Galleries
Old Factory Reformation - Change Into Art Studios
REFERENCES - TIANZI FANG
CONCLUTION FROM TWO CASES
spatial strategy
bieNNale
tiaNzi faNg
In order to doing the research of architecture space strategy in Tianzifang, we choose Taikang road as anexample.
The typology of space in TaiKang Road is the result of architecture in different historic period. Due to this area didn’t concerned about integrated planning initially, but relied on the spontaneous construction by the local residence. There is no specific rule of building typology, scale, hight and density in these area. In terms of street texture, basic service and community functions, the district layout indicated fragmentation more or less. Furthermore, with the result of the spontaneous construction, the space in Tianzifang become more interesting and shows more vivid and useful sections compared to previous time.
Original Space
Original Plan Transformed Plan Transformed Space Section
1, Management mode
The management method benefits local people, which is a big progress in China. Meanwhile, the unified operation of renting houses by a company is more profession than those who operate estate by themselves.
1, Management mode
Using two main areas and some exhibition spots in the city.
2, Commercial mode
The function distribution here is reasonable, Service + art studio + housing, service part of this area also could appeal people to Tianzifang and keep people stay here.
2, How to use the spaces in the city (1) Using the public spaces
(2) Using the architectures not used for current time (3) Using the museums
(4) Using the green area in the city
3, Architecture preservation
Shikumen house is protected in this case, and the re-design of the old factories is also worth learning.
3, How to attracts both artists and tourists
Each year's art or architecture exhibition must follow a theme, and it give artist an opportunity to generate new ideas and concept though the theme, and because the theme often is the most popular topic in the current time, visitos could get a chance to understand what the artists thinking about.
4, Spacial strategy
Spontaneous construction by the local residence contributes Tianzi Fang 's space and architecture improvement a lot, and the abondant space typology become the characteristic of Tianzi Fang as well.
4, How to do the reformation of Venice architecture
Take Arsenale as an example, the architecture doesn't need to change, except the interior spaces. In Venice, architecture form and facade is one of the constitution of Venice art heritage. So when it has to be change, the first thing must be conservation or restoration.
As a Motivated Method to Improve city Development
CONCLUTION
Through the analysis of two references,It is obviously to see that City Curating indeed improve the city development from social, urban and architecture’s aspects.
1. From social aspect,
During the six months’ opening in Venice Biennale every year, It is appealing to see that the economics of Venice has been highly improved. There is statics showed that , every year, Venice attracts 2 millions of tourists from all over the world, and those tourists highly push forward the economics’ development. In the 56th International Art Exhibition , these is direct 2.3 million euros income from the main exhibition and paralled exhibition.
Tianzi Fang is also an successful case that in economic aspect, different from Venezia, it highly improved the personal benefits of stores and exhibition galleries, besides that the district of Tianzi Fan can offer more job opportunities for publics especially migrant workers.
2. From urban aspect,
Giardini supplies the first and largest and green land in Venice, it is quite beneficiary for adjusting the incomplete urban structure of Venice. This green land is not only serve the tourists from all over the world but also the local citizens. During our visiting in Venezia, we frequently see local residence wondering in the garden.
As we mentioned in the reference, Tianzi Fang is transformed from old building Shiku Men. In urban scale, it offers Shanghai a leisure place for both local residence and tourists. When we visit there, we are all attracted by the vivid district atmosphere there. 3. From archiecture aspect:
Giardini is an composition of modern appealing architects’ masterpieces as we listed before. Different from Giardini, the strategy of Arsenale space transformation is to utilize existing linear old factory, and the exhibits are listed sequencely along the linear factory space.
In the last case Tianzi Fang, the method of building transformation is increasing space diversity by making use of fragmented space in the districts.
In conclusion, these two references well explained how City Curating as a quite beneficiary method to impove city development, especially in terms of city which holds highly touristic and cultural industry, both in social perspective and spacial perspective. This method will also has significant guidance meaning in our design later.
Chapter three
analysis part
1. Murano overall analysis
1.1 Murano in Venice
1.2 Analysis of Murano
1.3 Design area confirmation
1.4 Venice and Murano: an urban space types comparison
2. Conclusion
BRIEF HISTORY OF VENICE
1. Venezia-Murano-Burano Area 69.136 km2 ; Population: 69,136
Venezia-Murano-Burano includes the mainland of Venezia, Murano island Burano island. Murano is famous for its glass making. It was once an independent comune, but is now a frazione of the comune of Venice. Burano is an island in the Venetian Lagoon, northern Italy; like Venice itself, it could more correctly be called an archipelago of four islands linked by bridges. It is situated near Torcello at the northern end of the Lagoon, and is known for its work and
brightly coloured homes. 2. Lido-Pellestrina
Area 21.664 km2 ; Population: 21 550
The Lido is an 11-kilometre (7-mile) long sandbar in Venice, northern Italy. The Venice Film Festival takes place at the Lido every September. Pellestrina is an island in northern Italy, forming a barrier between the southern Venetian Lagoon and the Adriatic Sea, lying south west of the Lido
3. Favaro Veneto
Area 23.615 km2 ; Population: 23,615
Favaro Veneto is an urban part in the comune of Venice, in Veneto, northern Italy. It is the centre for the Favaro Veneto Municipality (Municipalità di Favaro Veneto) which covers the towns of Ca' Noghera, Ca' Solaro, Campalto, Dese and Tessera. 4. Mestre-Carpenedo
Area 88.952 km2 ; Population: 88,952
Mestre is now a preferred starting point for tourists visiting Venice, due to the favorable position, the cheap and frequent connection to the historical center of Venice by train and by bus (available also during the night) and the more reasonable prices of hotels, restaurants, car parking, supermarkets, bars, discos compared to the prices of the same touristic services in the historical and touristic center of Venice. Carpenedo is a place of the town of Venice located on the mainland
5. Chirignago- Zelarino
Area: 38.179 km2 ; Population: 38;179
Chirignago is a place of the city of Venice located on the mainland west of the city of Mestre , along the ancient Via Miranes historic thorough fare that connects Mestre to Padua through Mirano . Already home to the Q12 "Chirignago-Gazzera", the district is now included in the municipality of Chirignago-Zelarino. Zelarino is a place of common of Venice located on the mainland ( municipality Chirignago-Zelarino ): is the north-western conurbation of Mestre . It is the historic center of Venice and 17 km from the one of Mestre 3.5 km.
6. Marghera
Area: 28.466 km2 ; Population: 28;466
Marghera is a municipalità (borough) of the comune of Venice, Italy. It includes the industrial area known as Porto Marghera or Venezia Porto Marghera.
The invasion of
Langobard The die of Western Roman Empire
The autonomy city state -- Republic of Venice
Palazzo Ducale move
to Lido Island Venice join in the fourth Crusades
Venice become the most properous city in the europe
The explosion of Black Death
The Byzantine Empire was defeated by the Ottoman Turks
Opening up of new land route
Navy skirmish with Ottoman Empire
Napoleon conquered
Venice Unification into Kingdom of Italy
regiONs Of VeNiCe
deVelOpMeNt Of VeNiCe
1 2 3 4 5 6 AD 453 AD 476 AD 697 900 1204 1390 1348 1453 1492 AD 1500-1700 1797 1866geNaral iNtrOduCtiON Of VeNiCe
The maps shows the urban fabric in venezia in 1942, it is obvious showed that the city block developed from inside out. The highest density part of island in along the central canal and San marco part.
The urban fabric of murano shows much less dense of building from the map above. It indicated that the completed year of buildings in murano is much later than in Venice.
The graph of development of Venice shows that from 7 century until now, Venice is develped in a continued way. The darkest area is the earliest area in Venice.
The main islands were originally independent settlements, with some characteristics elements in common.
A church; a square; one or more rain water collection wells; as least one canal at the edge of the square, if the canal is not visible, that means it was probably filled in at the later time.
Well
Rainwater collection holes
Before building the walls along the canal, the Venetians drove wooden piles into the earth. Then they use two layers of thick boards over them and one layer stone blocks, on the top they built the foundation walls.
The development way of Venice did not grown out of a c e n t re t h a t i s expanded over time, but out of a series of settlements that correlates into one.
Urban Fabric,Commune di Venezia, 1959
Development of Venice
Architecture Construction Method
Development of Venice
How Does the Well Work
The Typical Island Unite of Venezia
Church Square Canal Road Well
BRIEF INTRODUCTION OF VENICE
VENEZIA MAINLAND SPACE DEVELOPMENT
7 Century 9 Century 11 Century 12 Century 16 Century Until Now 7 Century 9 Century 11 Century 12 Century 16 Century Until Now
Brief History of Murano
Brief Introduction of Murano Glass
6th Century:
Initially settled by the Romans and from the sixth century by people from Altinum and Oderzo. At first, the island
prospered as a fishinAg port and through its production of salt. It was also a centre for trade through the port it
controlled on Sant'Erasmo
11th Century:
It began to decline as islanders moved to Dorsoduro. It had a Grand Council, like that of Venice.
12th Century:
Murano was ultimately governed by a podestà from Venice. Unlike the other islands in the Lagoon, Murano minted
its own coins.
14th Century:
Murano glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state and
found their daughters married into Venice’s most affluent families.
1291:
All the glassmakers in Venice were forced to move to Murano due to the risk of fires.
15th Century:
The island became popular as a resort for Venetians, and palaces were built, but this later declined.
21th Century:
In the Twenty-First Century Nissan Introduced The mid-size crossover SUV That Is Based on The Same Name At The
2002 New York Auto Show.
10th Century:
The beginning of the Murano glass blowing tradition, more precisely in 982.
13th Century:
Murano becomes the center of glass in 1291 when all glass makers are ordered to move their
foundries to the island of Murano near Venice. the Venetian Senate decreed that, because of the risk
of fire from the increasing number of furnaces operating, the industry be removed from Venice to
the Island of Murano
16th Century:
Three thousand of Murano island's seven thousand inhabitants were involved in some way in the
glass making industry. Murano glass making supported almost the entire economy of the island of
Murano.
17th Century:
Murano glass making techniques suffer a serious decline. A high percentage of furnaces are shuttered
and numerous family based glass makers cease to exist. Main reason for this decline was that Chinese
glass was introduced to the world thanks to the same sea routes which first helped Murano export its
glass.
20th Century:
Murano glass was produced in great quantities in the 1950s and 1960s for export and for tourists.
Some of the most famous names of 20th century glass design include Tina Aufiero, Alfredo Barbini,
Ercole Barovier, Gae Aulenti, Gino Cenedese, Angelo Vittorio Mazzega, Alessandro Mendini, Carlo
Nason, Flavio Poli, Gio Ponti, Giovanni and Livio Seguso, Carlo Scarpa Angelo Seguso, Ettore
Sottsass, Paolo Venini, Vittorio Zecchin, Napoleone Martinuzzi, etc. Numerous museum collections
in every part of the world, now display examples of fabulous Murano glass including Murano vaes,
Murano chandeliers and Murano glass sculptures.
Late 20th Century:
Today, Murano is home to the wonderful Museo Vetrario or Glass Museum in the Palazzo
Giustinian, which holds displays on the history of glass making as well as glass samples ranging from
Egyptian times through the present day.
21st Century:
Up to this day, the artisans of Murano glass are still employing these century-old techniques which
they perfected generation after generation, crafting everything from contemporary art glass, glass
sculptures and objects d'arts, glass jewelery to Murano glass table lamps, pendant lights and large
chandeliers.
Today, Murano is home to the wonderful Museo Vetrario or Glass Museum in the Palazzo
Giustinian, which holds displays on the history of glass making as well as glass samples ranging from
Egyptian times through the present day. Some of the Murano's historical glass factories continue to
produce wonderful Murano glass collections. Some of them are Mazzega, Venini, Barovier & Toso,
Pauly, Seguso, Ferro Lazzarim. Murano glass is still interwoven with Venetian glass to this day since
most of these family founded glass foundries started in Venice and later moved to Murano.
handicraft, venetian glassvase 1462
Venini Glass
Rio Dei Vetrai
7 N13 18 O R B B 3 N 4.2 12 12 13 N FARO COLONNA O R NAVAGERO MUSEO VENIER SERENELLAThe island of murano is situated 1.2
kilometers north of the city of venice in
the venetian lagoon and is a part of the
municipality of venice. The island’s 1134
acres are divided into four islands (navagero,
san donato, del convento, san pietro, and
san stefano) and two sacche, or reclaimed
land zones, (sacca serenella and
Sacca san mattia) by a network of canals
similar to that of venice. Each of the islands
and sacche are linked by several walking
bridges and also by the azienda comunale
di trasporti di venezia (actv) boatstops that
are scattered along murano’s canale grande
and the outer islands. The island as a whole
has a layout remarkably similar to that
of venice. Murano has numerous campi
(squares) like venice; however instead of
being centered around a church, the campi
of murano were originally centered around
glass factories. The rest of the island is
occupied by approximately 5,700 residents,
and contains historical sites and businesses
that cater to the needs of tourism.
Traffic Line of Murano
Island of Murano
The Canale Degli Angeli, Canale Ponte
Lungo, Canale S.Giovanni,Canale
Serenella and Rio Dei Vetrai is the
main canale in venezia , they contain
the main traffic ports,and load the
most boats.
SACCA MATTIA
SAn nOATO
sacca sereneLLa
SAn PIETRO MARTIRE 1 4 5 2 3 S. TEREA E S. MATTIA S. GIACOMO E S. MAFFIO S. CHIARA E S. STEFAnO
1, Canale Degli Angeli 2, Canale Ponte Lungo 3, Canale S.Giovanni, 4, Canale Serenella 5, Rio Dei Vetrai
Three ways to Murano
By Train to Veinice - By Boat Bus to Murano
By Air to Airport - By Boat Bus to Murano
By Boat Bus
MURANO IN VENICE
Cathederal LeGenD Palazzo Residential Showroom Agriculture Area Restaurante + Bar Private Garden Factory Museum Residential + Showroom Public Areas Hotel Architecture School - education Important showroom Wild Plants Supermarket
Public Green Area Others
MURANO ANALYSIS
MURANO ANALYSIS
Still used but not in Good Condition
Still used but not in Good Condition Half-abandoned Building
Half-abandoned Building Well-conditioned Building
Public Areas Abandoned Building
Problems
Potentials of the Project Area
The use of the Space People almost walking only in one street
1, Architecture could be restored, the Architectures which have historical values and art values. 2, Important architectures in Murano, which have historical value, art value, use value and others.
3, Buildings could be partly improved, buildings which are not for private using, and not in a high quality; or buildings were half or totally abandoned by others.
4, Buildings needs impovement, buildings are not used or totally in a very bad condition. Public areas are not connect with each other
Lack of cultural and sport activities in Murano Murano do not have high quality of public areas Lots of unused and abandoned buildings in the city Lack of service areas like bars, hotels, etc.
Decrease population Connection
Green Areas In Murano, there are more Green spaces and trees than Venice, and the proportion of green area is much higher than Venice.
Fondamenta dei Vetrai and Fondamenta Manin are two mature commercial streets, famous showrooms like Venini is on the road of Fondamenta dei Vetrai
Chiesa dei Santi Maria e Donato, the Church of Saint Peter the Martyr. Venini and others.
Some old factories are not used anymore in Murano, and they have large spaces which could have more potentials for architecture transformation.
Also, some residential buildings are not used, they also have potentials of reformation. Commercial
Position There are lots of boat lines from Venice to Murano, and Murano is almost the nearest island from Venice main island except Cimitero.
Historic buildings Famous Showrooms Glass making
Public Spaces of Murano Abandoned Factory in Murano
The glass making process attracts lots of people. Unused architectures Activities Space Quality Architecture Service Population
Architecture Must be preserved
normal buildings Buildings could be partly improved Architecture could be restored
Buildings needs improvement
MURANO ANALYSIS
Conclutions
Problems and Possibilities
DESIGN AREA CONFIRMATION
By overlapping the analysis of architecture function, landuse, architecture condition, we can find that the spaces we could use are not much, we can not doing something with private spaces, and it is obvious to see that in Murano, area of showrooms and spaces of residential area are divided into two parts which is shown in the graph, and we don't want to disturb the residents of Murano much, so we won't put our emphasis on the area of residential areas.
And, in the area of showrooms, we could not doing something on residential areas, also we can't doing a lot construction on the buildings still well used. In previous analysis, we could find some abandoned or half abandoned areas in the showroom part, and there are some public spaces already exsists and used well in current time which could be used in future.
Function Analysis + Public Area Analysis
Residential Area + Private Area
Public Spaces + Abandon or Half-abandoned Architectures
Design Area Show room area
SPACE COMPARISON
spaCe COMparisON - between Venice and Murano
From the statics above, it obviously shows that the population mobility is concentrated along the central river- Rio dei vetrai, and canal ponte lungo. But Murano is far more that that. People don't go other spaces in murano except the main commercial road, in Previous analysis, we have already got the conclution that because of the architecture function, abandoned building, lack of services and other reasons, the use of Murano public needs improved, but how? with the question we choose an area from Rialto to accademia to see if we could find some references of how to perfect the spaces.
As the graph above, it can be seen that Venice is covered with lots of routes, nearly the whole island is covered by tourist activities, so we would like to take Venice as an example to see how does Venice work better than Murano.
We choose the area from Rialto to Bridge Accademia.
1, From Rialto to accademia bridge, that is a commercial street which used for a long time, the function of that area is similar to Murano.
2, The area is composed from a series campos with various typologies of spaces.
3, It could be easy to find abondunt activities there, make the spaces there very vivid and interesting.
4, Venice and Murano share the same culture and the same construction method of architecture, it is easy to get a mature and success reference from Venice spaces.
Santo Stefano
There are only three public areas in Murano except the docks
Calle Bressagio Campo San Donato Dock Dock Dock Dock Commercial road Commercial road Musuem Vetro Chiesa dei Santi Maria e Donato
Ponte Longo
3 Public Spaces of Murano
4 Why take Venezia as an example?
1, The Most Common Route in Murano
Rialto
Bridge Accademia
Campo sant' angelo
Campo santo stefano Campo manin
Campo San Luca Campo San Salvador
Campo San Bortolomio
VENICE ANAlYSIS
spaCe aNalysis frOM rialtO tO aCCadeMia
2 2 4 4 5 5 6 6 7 7 8 8 3 3 1 1
plaN
3.7m 15.7m 8m 2.5m 27m 32m
Section 3-3
Section 4-4
Section 1-1
Section 7-7
Section 2-2
VENICE ANAlYSIS
seCtiONs
50m 5.2m 47.5m 2.3m 8.5m 12m 25.5mSection 6-6
Section 8-8
Section 5-5
Small Campo
Stairs
Piller
Well
Kiosk
Bridge
Middle Campo
VENICE ANAlYSIS
differeNt diMeNtiONs With VariOus aCtiVities
0-10m
Dimention Concerning elements
Street Canal Bridge Sculptures Kiosk Well Outdoor stairs
Small and middle Campo
Tours activities Tours activities Tours activities Traffic Traffic Traffic Traffic Traffic Traffic Purchasing Purchasing Purchasing Purchasing Eating Eating Outside Busking Outside Busking Outside Tours activities Tours activities Rest Rest Rest Rest Education Education Education Education Rest Rest Rest Big Campo Open-air Concert Exhibition Park
Common Activities Special Activities
10-25m
25-50m
Circulation and Architecture Entrance
1 1 2 2Plan
saNt' aNgelO
VENICE ANAlYSIS
hotel cathederal bars restaurant commercial agencyArchitecture Function
People in Campo Sant' Angelo
Bars & Caffee Cathederal Restaurant Commercial Venice Agency Hotel
Perspective
5000 Pathway Well 3500 Evalated Platform 48000 3800 Kiosk Pathway 2600
SECTIOn 1-1
saNt' aNgelO
VENICE ANAlYSIS
6200Canal Evalated Platform 48000 Pathway 4100
6400 Kiosk
TrANSpArENCY
Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947
Transparency was first concluded by Colin Rowe and Bernhard Hoesli in 1997. It is a theoretical book which mainly talks about the relationship between Modernist architecture and Cubism painting.
Rowe begins his essay drawing upon painters from the early 20th century’s cubist movement to introduce and define his dual view of transparency. With this set of evidence, Rowe sets out his basic tenets that define transparency:
“Transparency may be an inherent quality of substance, as in a glass curtain wall; or it may be an inherent quality of organization. One can, for this reason, distinguish between a literal and a phenomenal transparency.” In this book , authors first explained the definition of transparency in two layers, one is in physical lay, another is in phenomenal layer.
Literal transparency, just as its name implies, describes the materiality of transparency. It refers to the material like light, glass, light fabric, paper, light ceramic and so on.
The Nelson-Atkins Museum of Art / Steven Holl , 2007
PhysicaL TransParency
What is transparency?
Axonometric of Le Corbusier’s Still Life, 1920; layering of frontal planes
Rowe and Slutzky comments of the Cubist canvas of the early 1910s as illustrative of these two orders or phenomena of transparency (concepts alluding to space-time relativity), and they compare and illustrate the difference between literal and phenomenal transparency in Picasso’s The Clarinet Player, 1911 (being literal, a figure in deep space) and Braque’s The Portuguese, 1911 (being phenomenal, a shallow flattened extended space).
Le Corbusier’s Still Lifes’ speak of both literal and phenomenal transparency; of both overlapping transparent figures (wine glass and bottle) and overlapping – yet flattening – planes (objects) in space. The painting depicts spatial ambiguities; a property of transparency, due to an illusion of deep yet shallow space; a fluctuation of back and forth movement of objects and planes advancing and receding simultaneously.
Le Corbusier’s Still Life, 1920.
Eisenman’ axonometric analysis diagram of Terragni’s Casa del Fascio:
TRAnSPAREnCy In ARCHITECTURE
In Peter Eisenman’s formal-geometrical analysis of the Casa del Fascio by Giuseppe Terragni, he describes the frontal plane of the southwest façade as a series of successive layered planes from front to back (Eisenman, 2003). This interpretive study can be seen as a forerunner to his own investigative projects of layering planes and spaces, seen especially in his early house projects. In Eisenman’s article on Cardboard Architecture: House II, “the implied planes formed by the columns and beams cut through the volumes in such a way as to create a condition in space where the actual space can be read as layered. The layering produces an opposition between the actual geometry and an implied geometry; between real space which is negative or void and implied volume which is positive or solid” (Eisenman, 1975).
Eisenman then describes a “dialectic or an opposition between an actual relationship and an implied relationship in the environment using the column and the wall, and the wall and the volume” (Eisenman, 1975). Here the actual and the implied relationships of transparent modes or operations are seen in opposition to each other, creating ambiguous dialectic or double overlapping readings of planes and spaces.
Eisenman thus achieves an overlapping-multiple reading or interpretation of transparent yet ambiguous conditions by means of working between two modes or readings of transparency, actual transparency vs implied transparency, or similarly, literal vs phenomenal transparency, or real/substantial vs seeming/organizational transparency, that is, the two modal operations of layering, the layering of Planes vs the layering of Spaces. 15m 10m 10m 10m 1m 2m 10m 20m
During several visits in Venice, we find the street’s typology of Venice are in quite a lot different from Murano. It offers more possiblities of street’s experience than Murano. which we find it is quite interesting that the typology of public space are quite abundant, when the proportion of height and distance in less than 1(D/K < 1 ), like section 1 and 2, people feel private, and intimacy and want to going through rapidly.
When the proportion of height and distance equals to 1(D/K = 1 ), like section3, 4, 5. the public space indicated the most comfortable states, in urban scale.
When the proportion of height and distance in less much larger than 1(D/K > 1 ), like section6,7. the urban space indicated the most public character, the sociality of the public space arrives the largest states. And the layers of public space are getting into a more various states. Taking the Campo Sainta Angelo as a example, The layers of public space contain trees, sculptures, pillers, lamps, wells, temporary shops, temporary bars, walls and so on. From phenomenon transparency aspect, these visual elements can be interinfiltrated each other on the square, which can make visitors to get different visual perception and walking experience.
In our selected design area in Murano , we are going to use the pheonomenal transparency as our urban design method to improve the diversity of public space in Murano. Making the layers of public space more abundant in order to let citizens and visitors experience Murano better.
By USInG "TRAnSPAREnCy"
as a MeThoD To iMProve PubLic sPaces OF MURAnO
design application
Chapter fOur
4.1 Overall design concept: Capturing Transparency
4.1.1 Glass line
4.2.2 Master Plan
4.2 Design strategy
4.2.1 Story Line
4.2.2 Node 1: Introduction about Murano
4.2.3 Node 2: Information Center
4.2.4 Node 3: Historical showroom preservation
4.2.5 Node 4: City installation
4.2.6 Node 5: City green lung
4.2.7 Node 6: City service addition
4.3 Further design Glass art musuem addition Node 7
4.3.1 Case study
4.3.1.1 Corning Glass art Musuem
4.3.1.2 Rolex Learning Center
4.3.2 Design expression
4.3.2.1 Plans
4.3.2.2 Sections
4.3.2.3 Renderings
CONCEPT
MASTERPLAN
desigN priNCiples
1, Land-use replacementAREA ANALYSIS
CIRCULATION ANALYSIS
OPEN SPACES ANALYSIS
ARCHITECTURE ANALYSIS
befOre desigN
after desigN
Normal Architecture Without Change
Architecture abandoned Architecture Transformation
Architecture not used New Architecture
ANALYSIS
befOre desigN
Restaurante Residential Residential Restauranteafter desigN
Musuem Musuem
Showrooms Showrooms
Factory Factory
Supermarket Supermarket
CathederalEducation Cathederal
Others Factory + showrooms
Others Education
DESIGN STRATEGY
stOry liNe
Note 2 & 3
Note 4
Note 5
Note 1
Note 6
Section
DESIGN STRATEGY
desigN Of NOde 1
Old Plan
Changes of Architecture
Old Perspective of Node 2 Old Accesibility of Node 2
New Perspective of Node 2 New Accesibility of Node 2
New Public Area
Old Half Abandoned Area Route
Route
DESIGN STRATEGY
desigN Of NOde 2
Old Architecture Function of Node 2 New Architecture Function of Node 2
Show room New Public Area Murano History Exhibition room Tourist Center
Half Abandoned Factory Factory and Showroom
Old Plan
Introduction of Venini
DESIGN STRATEGY
desigN Of NOde 3
1, Paolo Venini
Paolo Venini (1895 – 1959) emerged as one of the leading figures in the production of Murano glass and an important contributor to twentieth-century design.
2, Venini
In 1921 Venini and Cappellin opened a glass factory on the islands of Murano, the historic glass production center in the lagoon of Venice, Italy, under the name Vetri Soffiati Muranesi Cappellin Venini & C. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture.
Their plans went quickly awry, however, when Rioda died before production had begun. Several of the principal glassblowers decamped to found a competitor firm under the name Successori Andrea Rioda. Nonetheless, the venture was successfully launched and prospered with support from the founders' distribution contacts in Milan. The firm also benefited from a commitment to introducing new, modern design concepts.
Following disputes, Cappellin withdrew from the firm in 1925, taking most of the firm's master glassblowers and launching a competitor. Venini reorganized with new glassblowers and, first as Soffiati Muranesi Venini & C. and later as Venini & C., achieving a position as a design leader among Murano firms.Venini himself played a role in designing several of the firm's best-known products, including the famous "fazzoletto" (handkerchief) series which he created with designer Fulvio Bianconi.
Following Venini's death in 1959, the firm was initially continued by other family members and then sold in 1985.
Old Plan
new Plan
DESIGN STRATEGY
desigN Of NOde 4
Diagram
Pavillion After DesignGlass Line (pavement)
Oringinal Trees
Old Plan
new Plan
DESIGN STRATEGY
desigN Of NOde 5
Glass line in node 5
Old Entrance
new Entrance
Old Accesibility
new Accesibility
New Boundary Old Boundary Route RouteOld Perspective of node 5
new Sculpture Park of node 5
New Entrance
Old Accesibility
new Accesibility
Private Garden Area
Private Garden Area Route
Route
Changes of Architecture
With Glass Line
Old Perspective
DESIGN STRATEGY
desigN Of NOde 6
Old Plan
new Plan
Old Architecture Function
new Architecture Function
Others Church Education Service Showroom Residential
2
3
1 After
1 Before
DESIGN STRATEGY
desigN Of NOde 6
0.0004
5
5.000CASE STUDY
Corning glass art Musum
The campus of The Corning Museum of Glass is a collection of modern glass architecture, influenced by five generations of architects, each with the goal of creating a fluid space and incorporating glass wherever possible.1. Admissions Lobby 2. Contemporary Art+ Design Galleries(1990-2015) 3. Amphitheater Hot shop 4. West Bridge 5. Innovation Center 5a. Innovation hot shop 5d. Flameworking Demo 5b. Glass breaking Demo 5c. Optical Fiber Demo
6. Changing Exhibitions Gallery 7. Contemporary Glass 8.Courtyard Hot shop(seasonal) 9. The Studio 9a. Make your own Glass Pavllion(seasonal) 10. Garder Gallery 11. Rakow Research Library 12. Audio rooms 13. shops
Function of Floor 0
Circulation Function of Floor -1
Explore Glass Experience Glass Understand Glass Other Service Function 1 2 3 4 5d 6 7 5b 5c 5a 9 10 9a 8 3 3 3 11
Phase 1: Modern Glass architecture
Architects: Harrison & Abramowitz
Phase 2. Biomorphic and Organic Modernist Style
Architects: Gunnar Birkers
L" shape , International Style Glass, influenced by Ludwig Mies van der Rohe. The general aesthetic of the original building designed by Harrison is represented by the clean lines and clear functionality associated with the International Style, which developed from the philosophical and theoretical ideas for modern architecture promoted by the celebrated German-American architect Mies van der Rohe(1886-1969).Characteristic architectural elements of this modernist style include a square or rectangular footprint, a simple cubic "extruded rectangle" form, exposed steel and glass construction, windows running in broken horizontal rows forming a grid, and 90-degree façade angles.
The exterior of the building reflected Birkerts’ understanding of the circle as an inherent architectural form, reminiscent of academia and solitude, and the exploration of the properties of hot and cold glass. Birkerts described his building as both free flowing and amorphous, similar to when glass is heated at the furnace, and crystalline and structured, as when glass is cooled.
The façade of the building’s undulating perimeter is composed of rolled glass with stainless steel backing. Mirrors beneath the windows allow light into the building indirectly, minimizing glare and heat gain and protecting the fragile objects on display. 2 5 4 3 1
CASE STUDY
Architects: Bohlin Cyminski Jackson
Phase 3. CAFE of Corning Musuem of Glass
Architects: Smith-Miller + Hawkinson
Phase 4. Library facade transformation
The architects from Bohlin Cywinski Jackson, responded to a number of criteria for the new Library, including providing different levels of security for its rare collections and designing a series of climatic environments within the building in response to the varying needs of the collections. The building was designed to protect the Library’s holdings from the risks associated with the Museum's location in a flood plain, which was also a primary component of the building designed by Birkerts.
The Smith-Miller + Hawkinson expansion included two prominent additions, one to the east and one to the west of the existing building. The western addition encompassed the Auditorium, Coffee Bar, and glass bridge and passageway (known as the West Bridge) that linked the former Steuben Glass factory to the Birkerts’ building. Also included in the western addition was the Hot Glass Show demonstration stage, where visitors were first able to see live, narrated glassmaking demonstrations.
The Museum’s expansion and renovation was completed in 2001, resulting in a 117,400 square-foot facility. A redesigned 18,000 square-foot GlassMarket, one of the largest Museum shops in the country, occupies most of the lower level of the Museum.
Phase 5. Courtesy of Corning Museum of Glass
Architects: Thomas Phifer and Partners
Location: The Corning Museum of Glass, 1 Museum Way, Corning, NY 14830, USA
Area: 100000.0 ft2 Project Year: 2015
Photographs: Courtesy of Corning Museum of Glass
The Corning Museum of Glass North Wing Expansion provides 100,000 square feet of new space, including spacious light-filled galleries for its collection of contemporary works in glass, as well as one of the world’s largest facilities for glassblowing demonstrations and live glass design sessions.
roof beam
roof glass with designed pattern
The light of the corning museum is worth learning from this case, and with the white background and the light in the architecture, the glass arts can be introduced in a right way.
exhibition wall
outside wall
Case study - rolex learning Center
Architects: SANAA
Location: Lausanne, Switzerland Project Year: 2010
Photographer: Yao Meng
CASE STUDY
The building, designed by the acclaimed Japanese firm SANAA, features one of the most impressive concrete surfaces I have ever seen, creating a fluid space for students to enjoy. Interesting comments by Ryue Nishizawa on the relation between organic forms in architecture and human life. While the building is a perfect rectangle when seen in a plan view, the curves and slopes which define the interior space give the building a totally organic look.
Open Spaces Continuity
Pedestrian Route Parking Entrance
CASE STUDY
Circulation Flow Inside
Function Inside
open spaces in rolex Learning center
Working area
Offices
Offices
Bookshop
Library Research Collection
Bank
Main Entrance
Cafe
Food Court
Multipurpose Hall Restaurant Ancient Book Collection
Architecture Function Analysis
Supermaket Cathederal Resturante
Accesibility Analysis
Land-use analysis
Public Space Private Garden
Space Belongs to Factory Public Green Area
Architecture Condition Analysis
Architecture in Bad Condition Architecture Normal Musum of Glass
Showroom
Architecture Not Used Factory
FURTHER DESIGN OF NODE 7
aNalysis Of NOde 7
Old Plan
Changes From 2003-2007
Architecture abandoned
2012 2015
New Architecture Architecture not used Normal Condition
2003 2007
