• The Pearl, Busan Opera, Korea

    The Pearl, Busan Opera, Korea
    vienna AUSTRIA

    suckerPUNCH: Describe your project.

    SPAN (matias del CAMPO & sandra MANNINGER): The Pearl,

    The architecture of this project oscillates between historic lineage and most advanced contemporary atmospheres. Advanced computational techniques collide with romantic desires to produce an elegant space for the performance of operas, historic as well as novel ones.

    The project is organized in layers. The entire project oscillates between protective coats and programmatic elements. The outmost protective layer creates the connection between the island and the urban landmass. It also incorporates the entire back of house area.
    Nested within this volume is the pearl: The Opera house. The house itself is organized in subsequent radial strata. On the one side to provide the audience chamber with an excellent sound insulation, on the other hand it allows to create an effective structure for the ovular shape of the building as well as a clearly organized circulation for the front as well as the back of house.

    The curvilinear gestures are based on ellipses, this concept is applied in a rigorous fashion in the entirety of the project, from the basic form of the Opera house itself, to the underlying plinth housing workshops, wardrobes etc to the bridges connecting the opera island to the landmass. The swirling nature of the bridges and walkways invite the visitors not only to connect to the opera but to pace along the promenade circulating the building. In this extent it is possible to incorporate a manifold of program within the plinth of the opera such as shopping, restaurants and conference areas. The plinth also serves as a protective measure for the opera, as it forms an effective protection wall towards Typhoon and possible Tsunami.

    There is no apparent entrance visible in the opera, but the bridges clearly mark the entrance to the building. Once in the Lobby you will see a new level of articulation of the space. The rich opulence of historic opera buildings of the Baroque and Historism era of the 19th century echoes in this space in a contemporary mood. Whilst the building appears from the outside in neutral white and only sparks here and there in gold, the lobby takes the visitor on a trip to romantic notions of color, with gold as mean of expression connecting the architecture of this building with the historic lineage of opera design.

    sP: What or who influenced this project?
    SPAN: Musikvereinssaal Vienna, Mollusks, Onions, Venturi tubes, Euler Graph Theory, Manuel de Landa, Masamune Shirow.

    sP: What were you reading/listening to/watching while developing this project?
    SPAN: The Walking Dead, Philosophy in the Age of Simulation, Neil Stephenson, 4 Hero, Burial, Genioh Yamashirogumi, Joy Division, Kenji Kawai, Maurizio, Sonic Youth, Philip Glass, Peshey.

    sP: Whose work is currently on your radar?
    SPAN: Lu Yang, Yiquing Yin, Eva Hild, Dextro, Do Ho Su, Iris van Herpen.

    Gil Greis, Nicola Beck, Tomasso Cassucci, Filippo Nasseti, Marysol Kraviez, Vincenzo Reale, Alessandro Zomparelli.

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