3.12.2010

Admirant Entrance Building in Eindhoven, The Netherlands

Siguiendo el esquema del Master Plan de 1998 para el centro de Eindhoven, Holanda, el estudio Fuksas desarrolló estos cuatro proyectos asociados: - el 18-Septemberplein, una plaza de 7.000 m² con un estacionamiento subterráneo de 2.300m ² para 1.700 bicicletas; - la Piazza Shopping Mall, un centro de compras de aproximadamente 20.000m ², con 6.000m ² de espacio para oficinas;- El Media Market, una tienda de venta de electrodomésticos y equipos electrónicos; - El edificio Admirant Entrance, ubicado en una posición prominente entre el nuevo barrio y la plaza - un espacio ideal para recibir un edificio emblemático como principal puerta de entrada al nuevo centro de compras.

Following the outline of the Master plan in 1998 for the center of Eindhoven in the Netherlands, studio Fuksas developed the four projects associated with it:

–    the 18-Septemberplein, a square of 7.000 m² with an underground parking lot of 2.300m² for 1.700 bicycles
–    the Piazza Shopping Mall, a shopping center covering approximately 20.000m² with 6.000m² of office space,
–    the Media Market, a store for the sale of electrical appliances and electronic equipment
–    the Admirant Entrance Building.

It is located just at the border between the new quarter and the 18th September square, forming the main gateway to a new shopping axis. This prominent position called for an iconic building.

Exterior language
Following this characteristic style, the design of the Admirant Entrance Building is also based on an intensive form finding process whose result has prescribed for an unpredictable building design.

Compared with the immediate surroundings, the new architecture seems to be at a first glance like a product of the distant future.
Fluid, amorphous or organic are terms which cross one’s mind.
Like an undefined celestial body, the new building appears between the building fronts. One might think that an unexpected impact in the existing structure left behind its mark, whereby the object has been stuck or frozen.

On closer inspection, however, the architecture is full of movement.
Dynamics go in different directions and with varying intensity.
On the one hand, there are the four big indents of the building envelope, which create a diversity of spatial configurations on the inside and outside of the building.
The experience of this movement seems slow, almost meltingly-slow;
you can follow it.

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In great contrast to this, stand the dynamics of the indents on the surrounding area, consisting of the triangular facade elements.
They are directionless, fast, and lead the viewer, caused by the network of lines, to an overall picture of the architecture, whose movement appears once more different.
This further flow of speed has its origin in the contrast of the two facade materials. Open and closed surfaces alternate smoothly and flow over softly.
Crystalline, the maritime blue of the glass is in contrast to the dense and clear white panels.
Regarding the intensity, this dynamic stands between the former two.
Finally, there is a general movement in the architecture.
Looking at this from a certain distance, it is noticeable that the building is in a rotation.
Perhaps a similar appearance to a marine mammal that erupts for air.
It rises to the surface, shows itself for the briefest moment, then sinks immediately into the depths again.
Therefore the architecture seems sluggish at first, but is in fact full of tension, whose network of dynamics develops an enormous power.
It may be a signal for a dynamic future and development of the city.

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