![]() ![]() A single, continuous foyer emerges concentrically from this shape, wrapping itself around the contours of one side of the hall, both in plan and in the gentle curve of its section. As in Rouen, he proposed a scheme in which the generative center of the building and the bulk of its massing are located in a circular, amphitheatrical performance space. While the concert hall’s conceptual roots can be traced to earlier projects, the architect’s involvement at Limoges began when he won first place in the local government’s competition in 2003. But Limoges is important for other reasons: in addition to its thoughtful material and spatial choices, it is one of the more articulate illustrations of Tschumi’s explorations of movement and enclosure-“vectors and envelopes”-that inform much of his recent work. In another sense, the concept and form of Limoges aren't anything novel, either, emerging almost in its entirety from a concert hall prototype Tschumi developed in the late 1990s for a similar venue at Rouen. In one sense, the visual clarity of the design doesn’t provoke the same complex discourses on architectural violence and eroticism that guided his early-career pursuits, and it is certainly a more functional evolution of his polemic on non-programmatic space that was famously exhibited at Parc de la Villete. Sustainability and Performance in Architectureįor those familiar with the more canonical work of Bernard Tschumi, the Limoges Concert Hall may seem a puzzlingly conventional departure from the radical, intensively theoretical projects that introduced the world to the Swiss architect. The Future of Architectural Visualization ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2022
Categories |