the eden project

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لتاسع الواجب ا عبدالرحمن محمد جودهلجامعي الرقم ا1323615

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The Eden Project The Eden Project

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Page 1: The Eden Project

الواجب التاسع عبدالرحمن محمد جوده

1323615الرقم الجامعي

Page 2: The Eden Project

The Eden Project

Cornwall, UK

The Eden Project endeavours to recognise our country’s heritage of plant

exploration while simultaneously looking to the future. Key to The Eden

Project’s success is Grimshaw’s transformation of a place of relative

anonymity into a truly multi-functional site with visitor experience at its core.

One of the primary environmental strengths of The Eden Project is to

consider what it replaces. Previously, the site was a china clay pit and was

still being excavated during the design phase. The strategy of replacing an

almost uninhabitable clay pit with a new natural habitat is perhaps in principle

the biggest environmental success of Eden Project. Situated in a 15-hectare

landscaped site, it is an excellent example of successful place-making.

The Eden Project has created its own unique culture comprising

performance, educational and artistic spaces which extends far beyond the

site itself. The Project currently employs around 600 permanent staff, 95% of

whom were recruited locally and 75% of whom were previously unemployed.

The project has four completed phases to date. The fifth phase, The Edge,

has its roots in the original ambition to have a Biome that focuses on the

desert regions of the world.

Page 3: The Eden Project

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The Eden Project Cornwall, UK

Page 4: The Eden Project

Title

The Eden Project Cornwall, UK

Page 5: The Eden Project

Arts and Culture Projects Eden Project:

The Eden Project: The Visitor’s Centre

Cornwall, UK

Grimshaw’s first phase of The Eden Project was the development of

the Visitors’ Centre, which is built on the apex of the 15-hectare site.

The centre is known as the 'Gateway to Eden' and houses ticketing

halls, shops, restrooms and educational galleries.

The Visitors’ Centre introduces the aims and objectives of The Eden

Project, not only through its multimedia educational exhibits but also

through its own sustainable credentials as a building. It is a working

showcase for methods of building with low impact on the

environment: green roofing; gabion walling; rammed earth

construction and timber cladding.

The environmentally-driven design was completed in advance of the

contract delivery date, and on budget. It opened to the public on 16

May 2000. During the following year, it attracted almost 1,000,000

visitors to its showcase ‘Big Build’, which afforded visitors a view of

the construction of the Humid Tropics and Warm Temperate biomes

from its panoramic galleries and viewing platform.

Page 6: The Eden Project

Arts and Culture Projects Eden Project:

The Eden Project: The Visitor’s Centre

Page 7: The Eden Project

The cultural center is situated on a narrow strip of land

surrounded by the ocean and lots of lush vegetation. Ten

pavilions of various sizes ranging in height between 9 and 24

meters high are situated asymmetrically along a main path.

Each pavilion serves a various function or evokes certain

themes and includes permanent or temporary exhibitions.

Some contain studios for traditional activities, such as music,

dance, painting and sculpture. Also housed at the center is an

auditorium, an amphitheater, the administrative departments,

research areas, a conference room and a library.

The pavilions themselves were inspired by traditional Kanak

huts, but were not copied exactly – they’re more of a modern

take on the traditional architecture. Built from iroko wood as

well as glass, steel, and bamboo, they respect traditional

construction methods according to the most sophisticated

engineering studies. Operable roof skylights and a screen of

laminated wood facilitate natural ventilation using the wind to

push hot air out of the top, while a bamboo wall filters light

into the interior.

Page 8: The Eden Project
Page 9: The Eden Project

Parc Balearic Information Technology (ParcBIT) is an initiative by the Balearic

Government, as part of the ExpoCities Project under the European Union Thermie

Programme, to generate a new approach to living and working environments.

Drivers of the scheme are the provision of leading edge telecommunications links,

a modern, sustainable and efficient infrastructure, and a high quality built

environment.

After winning an international competition in 1994, the practice was commissioned

to plan a mixed use live/work community for some 5,000 inhabitants on a site that

lies 12 km north of Palma. Located on agricultural land next to Mallorca’s

university campus, ParcBIT, is bounded to the east and west by development but

by open country to the north. An existing Finca (farm house) which is preserved in

the new plan is sited on the prow of the ridge in the centre of the site, between

two torrent valleys which take water run-off from the mountains to the sea.

Page 10: The Eden Project

Responding to the client’s manifesto, the proposal is highly sustainable, implementing

systems that balance the cycle of supply and demand within the community. The

scheme can also be ‘read’ as a physical manifestation of the age of telematics -

ParcBit recognises that work location is no longer defined by historic centres of

occupation but will increasingly be determined by key issues such as the quality of life

and the environment. The scheme is deferential to the existing terrain, recognising

that landscape is the collective memory of a culture. The new development

complements rather than compromises the landscape and its local ecology - the

existing topography has played a significant role in the definition of built form and

circulation patterns, with buildings located on the terraces which wrap around the

Finca and the ridge, following the contours of the land. In addition the scheme gives

clear priority to a pedestrian environment, with parking contained at the perimeter of

the site.

ParcBIT reduces water use while providing a landscape which benefits both people

and local ecology - tertiary treated water is used for irrigation. The masterplan’s

energy system ensures a high level of comfort in buildings while minimising

environmental impact and carbon dioxide emissions. It does this through a high-

efficiency central CHCP plant which incorporates an innovative approach to the

integration of renewable solar energy.

“Our masterplan was generated by careful analysis of the site and landscape. The

plan is designed to preserve native landscape features and to maintain the site's

ecological value.” Lennart Grut

Page 11: The Eden Project

The Master plan of Majorca

Page 12: The Eden Project

High in the hills overlooking Los Angeles, The Getty Centre offers a

commanding view.

“Yeah, on a clear day you can see smog forever,” says a droll Angelino as

he stares into the blue-grey gauze which lies lightly over his city on this

typically perfect, dry day.

That said the Getty, as it is commonly known and which opened 18 months

ago, is beautifully appointed on a 46ha site above the San Diego Freeway in

Brentwood. It looks from the Pacific Ocean and across the greater Los

Angeles area in one direction, and to the Santa Monica Mountains in

another.

Little wonder Angelinos sometimes come here to simply wander through the

gardens -- designed by Robert Irwin -- and have lunch in the sun with the

busy world far beneath their sight-lines. Up here it’s sky above and world

below -- and art all around.

Built for about $NZ1.75 billion, the Getty art museum has seen more that

two million visitors since its opening in December 1997. And oddly in this city

of the automobile, the carpark allows for only 700 vehicles so it pays to book

ahead. The many visitors who arrive by bus or taxi -- or on skateboards or

in-line skates, because this is Los Angeles after all -- don’t need

reservations.

Page 13: The Eden Project
Page 14: The Eden Project

Knight rightly noted that Seurat is internationally regarded as one of the

finest by the French pointillist Impressionist. This painting was the perfect

and necessary counterpoint to the Getty’s Entry of Christ into Brussels in

1889 by James Ensor, a powerful Expressionist work the museum

snapped up a little over l0 years ago.

The Seurat, however, is now in Steve Wynn’s collection in his Las Vegas

casino, Bellagio. He picked it up for a tidy $NZ70 million.

The Getty says it considered bidding for it, but determined it wasn’t a

good enough example of the artist’s work -- a breathtaking assertion.

Knight suggests the museum’s running costs (“a voracious money pit")

meant it simply didn’t have the readies for such a major purchase.

In a front-page Times article Knight noted that while the museum was

bolstered by a trust with an annual endowment of $NZ10 billion, there

were

Page 15: The Eden Project
Page 16: The Eden Project