Aldo Van Eyck's iconic masterpiece in the Amsterdam Municipal Orphanage municipality of Amsterdam. He created a building with many intermediate conditions to break down the hierarchy of spaces where we have the same amount of negative spaces as positive ones that he formed. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The orphanage consists of the large domed shapes, the axial grid lines generated by the small domes, and the axially positioned doors. The fulcrum of the internal courtyard is a circular seat marked by two lamps, which instead of occupying the geometric center of this space, is moved approximately four meters diagonally from it. From there the settlement expands centrifugally in all directions. It simply provides the initial impulse to the two internal streets, which branch off with opposite zigzag movements, to give access, through internal and external courtyards, to the various units. Consequently, a central perspective does not in any way bind the residential units that unfold along these streets, but move in relation to the city rooted in both classical and modern traditions. The classical tradition lies in the regular geometric order that underlies the plan. The modern one manifests itself in the dynamic centrifugal space, which crosses the classical order. The archaic tradition manifests itself in several aspects of the formal appearance of the building. The geometric order of the building is marked by a contemporary version of the Classical Orders, composed of columns and architraves. The columns are thin concrete cylinders with thin "grooves" left by the formwork; the lintels are concrete beams, each with an oblong slit in the center. Their joined ends give the impression of a capital city, although capital cities as such are absent. The small domes form a grid that extends uniformly over the entire building so that the overall design can be read at every point. Along the axial lines of this grid, pillars, architraves and massive walls delimit a series of closed and well-anchored spaces: the living rooms and adjacent patios, the party room, the gym and the central courtyard. The units facing north have the 'back' made up of a continuous and solid wall at right angles, while the south front is made up of an orthogonal succession of glass walls. The building is made up of 328 small units measuring 3.36 x 3.36 metres, and the large units are three times the length and width of the small units. In the quarters for older children, glass and brick walls come together in a simple elongated L-shaped space, but in the units for younger children, the brick wall envelops much of the dome area and the entire wing of the dormitory. The glass walls project towards the south to delimit a further displaced space, on which, returning to the dormitory wing, they penetrate the perimeter of the building to dig a covered terrace beyond the columns and architraves. Embodying the highest level of closeness and openness, these units also represent a prime example of Van Eyck's vision that architecture should, just like man, breathe in and out. And, surprisingly, the layout of these interconnected units appears to resemble that of the entire building. These outdoor spaces, large and small, are characterized by a similar centrifugal structure. Similarly, the diagonal trend is also recognizable in the residential units, which cuts transversally through the orthogonal structure of the entire building. The centerpiece of the interior, a round theater or.

Topic > Aldo Van Eyck's iconic masterpiece in the Amsterdam Municipal Orphanage municipality of Amsterdam. He created a building with many intermediate conditions to break down the hierarchy of spaces where we have the same amount of negative spaces as positive ones that he formed. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The orphanage consists of the large domed shapes, the axial grid lines generated by the small domes, and the axially positioned doors. The fulcrum of the internal courtyard is a circular seat marked by two lamps, which instead of occupying the geometric center of this space, is moved approximately four meters diagonally from it. From there the settlement expands centrifugally in all directions. It simply provides the initial impulse to the two internal streets, which branch off with opposite zigzag movements, to give access, through internal and external courtyards, to the various units. Consequently, a central perspective does not in any way bind the residential units that unfold along these streets, but move in relation to the city rooted in both classical and modern traditions. The classical tradition lies in the regular geometric order that underlies the plan. The modern one manifests itself in the dynamic centrifugal space, which crosses the classical order. The archaic tradition manifests itself in several aspects of the formal appearance of the building. The geometric order of the building is marked by a contemporary version of the Classical Orders, composed of columns and architraves. The columns are thin concrete cylinders with thin "grooves" left by the formwork; the lintels are concrete beams, each with an oblong slit in the center. Their joined ends give the impression of a capital city, although capital cities as such are absent. The small domes form a grid that extends uniformly over the entire building so that the overall design can be read at every point. Along the axial lines of this grid, pillars, architraves and massive walls delimit a series of closed and well-anchored spaces: the living rooms and adjacent patios, the party room, the gym and the central courtyard. The units facing north have the 'back' made up of a continuous and solid wall at right angles, while the south front is made up of an orthogonal succession of glass walls. The building is made up of 328 small units measuring 3.36 x 3.36 metres, and the large units are three times the length and width of the small units. In the quarters for older children, glass and brick walls come together in a simple elongated L-shaped space, but in the units for younger children, the brick wall envelops much of the dome area and the entire wing of the dormitory. The glass walls project towards the south to delimit a further displaced space, on which, returning to the dormitory wing, they penetrate the perimeter of the building to dig a covered terrace beyond the columns and architraves. Embodying the highest level of closeness and openness, these units also represent a prime example of Van Eyck's vision that architecture should, just like man, breathe in and out. And, surprisingly, the layout of these interconnected units appears to resemble that of the entire building. These outdoor spaces, large and small, are characterized by a similar centrifugal structure. Similarly, the diagonal trend is also recognizable in the residential units, which cuts transversally through the orthogonal structure of the entire building. The centerpiece of the interior, a round theater or.