CONTEXT

Book : Architecture in context

fitting new building with old
CASES OF
DANCING HOUSE & LOUVRE MUSEUM

Group members: Vaidehi Patel 1608

Dolly Panchal 1638
Parthvi Parmar 1640
Kshitika Shah 1663
 THE THREAD CONCERN FOR DESIGNING IN CONTEXT

• Changing our perspective of relationship between new and old to a way

onlookers perceived the building

• The aesthetic should have visual connectivity to some extent in terms of

material, facade height without compromising the originality

• The new building should reflect similarities and should also respond to
future
THE THREAD CONCERN FOR DESIGNING IN CONTEXT

• The addition of Louvre museum is done in the main

courtyard and is connected to the functional basement
of the palace.
• The main idea is to not disturb the site above except
the glass pyramid as the roof of entrance foyer .
• The new building is contrast but it designed keeping in
mind of future references

• The windows that extend from the facade as picture

frames is having a relation with Baroque, Gothic and
Art Nouveau buildings of Prague. Also the warm,
cream colour of the building form matches with the
neighbouring buildings.
• The ideas and concepts present in the building
continue to be not only relevant, but overlooked in
some contemporary structures.
 THE MODERNIST POINT OF VIEW: CONTRASTING NEW WITH
OLD
• CONTRAST
• The moral code of contrast is using historical references in design Spirit
of times
• Another aspect to the idea of contrasting which should not be
underestimated is to establish relationship through contrast Future
Response of new material with old building

• THE LINK
• Comparison between new and old
• By inserting the link between new and old ;the link can be literal drawing
back from existing facade or a symbolic withdrawal from past
 THE MODERNIST POINT OF VIEW: CONTRASTING NEW WITH
OLD
• CONTRAST • In the interior of a square of buildings in the eighteenth and
nineteenth century, the Dancing House has two central
bodies. The first is a tower of glass that is close to half height
and is supported by curved pillars, the second runs parallel to
the river, which is characterized by the mouldings that follow
a wavy motion imitating the way of river . This solution has
been driven mainly by a kind of aesthetic consideration: the
windows lined evidenciarían that the building has two
windows, although they have the same height as the two
adjacent buildings of the nineteenth century. They also do not
have to be perceived in the will of the designer, as simple
forms on a flat surface, but must achieve the effect of three-
dimensionality, hence the idea of frames as outgoing frames
of paintings. Also the winding mouldings on the facade make
it more confusing perspective, diminishing the contrast with
the buildings that surround it.
 THE MODERNIST POINT OF VIEW: CONTRASTING NEW WITH
OLD
• CONTRAST

• The glass pyramid provided a symbolic entry that had

historical and figural importance that reinforced the
main entry
• The material contrast with historical building but
responds to future references
 THE MODERNIST POINT OF VIEW: CONTRASTING NEW WITH
OLD
• THE LINK
• Inheriting from the consistent abstract style appearing
in Frank Gehry's other worksites, the Nationale-
Nederlanden Building blends in with the adjacent
buildings with the adoption of an unusual shape. It
responds to the rich texture and scale of the adjacent
row houses.
• The twin tower schemed design creates a strong visual
focal point within this smooth transition that has been
led across the street. More importantly, it has
established a sculptural dialogue appropriate to the
context for the immediate urban environment

• The design of Louvre was more of responding to its

surrounding landscape while there is indirect
relationship established by using clear glass so if one
peered through it, the facade of historical building
visible clearly
 NEW BULDING WITH OLDER
LANDMARK.
• New building with old landmarks
• Contrasting new with old often results in meaning less departures of
context
• Using similar height and facing materials will help on establishing
relationship would still appear purely accidental were it is not for
typical modern connective gesture of despair, the reveal
NEW BULDING WITH OLDER
LANDMARK.

• Here the two figures of Fred & Ginger defines the

new contrasting building, but at the same time it
represents the same old landmark in the context.
• This happens by creating some similarities with the
old as well as it shows the new with the use of
modern technologies and materials.

• The large pyramid in the center which is designed

with glass and steel creates a transparency with the
older building which does not disturbs the
landmark. But at the same time this new creation
has also not failed in keeping its own identity along
with the old building in the context.
 STYLE OF OUR
TIMES
• The meaningful architecture symbol of our times
• The idea of one style for our times to a variety of appropriate styles for
different contexts. Respecting the spirit of the times is less valid
architectural concept than respecting the spirit of the place

THE ARCHITECT AS CHEDHIRE

CAT
• The link between architecture and ideology is a muddy one at best.
• Connecting architecture to abstract ideas with the implication that it can
advance them or illustrate them so that can be understood by larger
number of people
STYLE OF OUR
TIMES
• The new building was based on and because of the
Velvet Revolution and was therefore meant to be its
reflection. The design of the two towers, static and
dynamic, an analogy of a society starting to move
towards changes, is inspired by famous interwar
dance couple Fred Astair and Ginger Rogers. That
gave the building a nickname “Fred and Ginger”,
which is still occasionally used. A dance couple,
because the house is meant to dance above the end
of totality.

• I.M. Pei’s design for the Pyramid du Louvre at the

historic Louvre Palace in Paris France starts with
architecture’s most significant symbol: the pyramid.
A tunnel descends into structure like the ancient
pyramids of Egypt.
• The pyramid, per Pei, was designed to fall beneath
a certain line, so it wouldn’t stick out above
rooftops. The architect really did want the piece to
be as unobtrusive as possible—which didn’t stop
the controversy, but does help to contextualize it.
THE ARCHITECT AS CHEDHIRE
CAT

• The very non-traditional design was controversial at the

time because the house stands out among the Baroque,
Gothic and Art Nouveau buildings for which Prague is
famous and in the opinion of some it does not accord well
with these architectural styles. The then Czech president,
Václav Havel, who lived for decades next to the site, had
avidly supported this project, hoping that the building
would become a center of cultural activity.
THE ARCHITECT AS CHEDHIRE
CAT
• Aware that the architect's proposal would bring criticism
from his conservative fellows, Mitterrand and Pei worked
in the project almost secretly, and when they had to start
the construction, the protests were immediate. About
90% of the population of Paris was against the proposal
as a century before the Parisians had opposed the Eiffel
Tower. Actually, that space was being used as a parking
lot by the Ministry of Finance during the day and as a
refuge for drug addicts at night.
• However, upon completion, the work was praised for his
severity, functionality and clarity, as well as the
architect's effort in trying to highlight the ancient work
through a simple and clear geometric element. Today it is
one of the main symbols of Paris.
THANK YOU