© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
MEMORY THYSSENKRUPP ELEVATOR DUBAI 30 01 09
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
The project is conceived as an URBAN GREAT LENS, a civic eye. It is an observatory but in turn a symbol that he/she announces. A great eye of analytic look. This eye, besides understanding each other as a dynamic system, requires a contemplative unfolding, since it will be the center of innumerous references. A space reticule of steel and glass crossed by gangplanks and flying ramps that, to the way of Piranesi, they invite to the ascent, but instead of somber, oppressive spaces, it is sought an I link to the cosmic thing, another form of understanding the reality. The expression that gives origin to the formal thing refers to the expressive possibilities of the pentagon and of the number of gold, a pyramid truncates of pentagonal base, an irregular prism but of assailable geometry. The project designed as architecture, is a great urban, alive sculpture, dynamics, non static that is completed with people’s participation. It is signed for their festival character, besides expressing it formally, it presents the possibility to generate images and changing sounds. It is the place from the events to scale of the megalopolis. A gem of glasses that in diverse successive and alternative planes of transparency and color offers a double homage to the new City of Dubai. The geometric place of the cut epochal. The skin, a reticule supplied by two energy types, a virtual one, witnesses of having traced regulators, and another of diverse fluids that you/they appear in the nodes with limitless combinatorial possibility. A double wall, double skin, constituted by roisters oblique estructurantes and that with their development helical search to adapt successively to the changes of the prism, and that linked spacey by nodes and articulations to the columns, beams and enterprises it defines the faces of the pyramid, he/she closes the structural reticule, it defines and it contains the curtain wall and it is completed by the human dynamics. The nodes consolidate the structure in solider form, the articulations allow the passage of tensions, they liberate forces. A wall, a skin pure window, pure opening, a wall that symbolizes the end of the walls. A trampy that you penetrates and it participates, a scenario of the information, a show in itself, with all the possibilities of unfolding of screens, candles, flags. To this trampy that represents the festival thing the constructive dynamics it is linked. The wall, the skin of the tower, thinking of the future events, it is also one it sprouts technological, their structure allows to seat all the services for the growing technology of the communication. From the traditional mechanical elements, masts, brackets, until poli ducts that travel the plot to operate strong, weak electric currents, optic fiber, signs of TV, atmospheric ionizadores, densificadores, etc.. From a console the nodes can present countless combinatorial starting from the discreet election of the locations. A room of machines in the underground allows to operate cameras, monitors, projectors, canyons laser, holography, etc.. The ramps gangplank supply the level of the miradors, observatory and cafeteria, the stairway and the internal elevator of the tower they finish off in the level +161.28M. On the other hand the elevator of oblique journey ascends until the level +152.90M, to the observatory, there the ramps gangplank are born with a journey, a promenade that descends to the cafeteria in the level +118.08M. The structure has been designed starting from elements of strong rigidity in the main plane as also in the traverse one, the superstructure is generated starting from simple reticules that conform two napas in each face of the pyramid united by planes of arriostramiento discretizados, what gives to the combined character stereo and reveal, showing a depth that is virtual to scale of the project. Of the seven columns support of the tower, five give form at the pentagon generator and two they fly and they spread as arms in position of receiving, in welcome expression. Columns of steel of axial conformation, constituted by diverse concentric elements, pentagonal prisms also framed by cylinders containers of columns. This system of axial columns in their parts and in the everything conforms a border empotramiento according to two addresses, the superstructure works like a bracket of great height in the vertical plane (resistance in the plane in front of the own weight and you load utilitarian graveness) and like one sprouts to as many double napas as faces he/she observes the main body of the tower in its geometry I truncate pyramidal of pentagonal base. Bracket that he/she also offers resistance in front of the actions of the wind in the horizontal plane. A structure classic reticulate for triangulation, bracket embedded to the floor, and beams of great height conform the structural typologies; being the node main element of rigidity flexional of this structure, assemble of vertical, horizontal pieces and diagonals; elements all of constructive generation for the assembly for I insert quick of the parts. Profile and sheets of standard steel of obtaining in the market framed in the effective norms willing and cocktails in non traditional form and united by specially designed inserts. Structurally the ramps were designed as beams drawer in all their light, acting as beams and props, braced by brackets to the main body and for obenques to the columns, with their important space presence (steel cable with cylindrical sheath also of steel) obtaining a true one as a result assembles coaxial. The plants in their different levels respond fundamentally to the structuring of the entirety of the built volume. They are defined only that of the access programmatically, that of the auditory, the library and the cafeteria, the rest is free plant, of adaptation to any destination. And these same plants in a reduced number allow spaces of importance and later decisions to allow the installation of the entirety of the same ones.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 07 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 07 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 07 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 08 Maggio 2009.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 21 Gennaio 2010.
© Juan Carlos Pellegrini Riccardi . Pubblicata il 24 Gennaio 2010.