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  #21  
Old Posted Feb 5, 2009, 2:36 AM
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Originally Posted by Australiasian View Post
no mate. the point about the match box design. personally, i think we need to see more "radical" designs (it's pretty much a norm nowdays everywhere else... bloody hell...) on the island. more curves perhaps!? i love bilbao's guggenheim museum. would like to see designs like it in the future!?
I agree with you that the bilbao's guggenheim museum is such a great piece of work!
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  #22  
Old Posted Feb 8, 2009, 6:56 PM
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is that the new taipei natural gas co. head quarter?
not a fan of this at all. it reminds me of one of those giant spherical gas storage tanks... ugh



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  #23  
Old Posted Feb 16, 2009, 4:29 AM
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  #24  
Old Posted Apr 5, 2009, 4:00 AM
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i guess the interior of the dome-shaped theater looks kind of interesting.
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  #25  
Old Posted Apr 14, 2009, 2:21 PM
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I wish they will use many projectors to project pictures, videos or whatever stuff onto the exterior of the sphere in the night to make it the world largest (maybe?) spherical display. Then that will be interesting.
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  #26  
Old Posted Apr 19, 2009, 10:49 PM
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^ agreed.

Is this the finalized plan?
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  #27  
Old Posted Feb 19, 2012, 4:37 AM
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http://vimeo.com/36774387

http://www.archdaily.com/209174/omas...breaks-ground/
OMA’s Taipei Performing Arts Center breaks ground17
Feb 2012

By David Basulto — Filed under: Architecture News ,Cultural ,Featured , OMA, Taipei, Taiwan

http://www.vimeo.com/36774387


Nearly two years after OMA was announced winner of a two-stage international competition, the construction of the new Taipei Performing Arts Center has commenced. This ambitious project, led by OMA partners Rem Koolhaas and David Gianotten, generated a lot of debate among architects when it was announced back in 2009 due to its particular form. Morphed by a series of programatic operations, the form intersects three types of theater in order to accommodate a variety of performances. [p=30, 2, left]TPAC Approach from north © OMA[/p]

The main theater, which seats 1,500, is expressed on the exterior as a large sphere while the two smaller theaters, each capable of seating 800, are represented as peripheric cubes. All the stage accommodations are brought together within the central cube, allowing for more flexibility as theaters can be used independently or combined, thus expanding the possibilities for experimental performances – an art which is very strong inTaiwan. At the same time, and in a similar way as OMA’s CCTV building in Beijing, China, a “public loop” channels circulation through the building, exposing the spaces that make the TPAC work, areas typically hidden from the public but are as revealing as the performances themselves.
In this aspect, the building is like a machine at work with its engine exposed, somehow reminding me of OMA’s Prada Transformer – a machine-like building (the anti-blob) that changed its configuration to host different types of events.
The 180 million dollar project is set to be completed in 2015. More details, including sections and updated renders, after the break:

[p=30, 2, left]President Ma Ying-jeou with OMA partners Rem Koolhaas and David Gianotten © OMA[/p]

Why have the most exciting theatrical events of the past 100 years taken place outside the spaces formally designed for them? Can architecture transcend its own dirty secret, the inevitability of imposing limits on what is possible? [p=30, 2, left]Diagram © OMA[/p]
[p=30, 2, left]Diagram © OMA[/p]

In recent years, the world has seen a proliferation of performance centres that, according to a mysterious consensus, consist of more or less an identical combination: a 2,000-seat auditorium, a 1,500-seat theatre, and a black box. Overtly iconic external forms disguise conservative internal workings based on 19th century practice (and symbolism: balconies as evidence of social stratification). Although the essential elements of theatre– stage, proscenium, and auditorium– are more than 3,000 years old, there is no excuse for contemporary stagnation. TPAC takes the opposite approach: experimentation in the internal workings of the theatre, producing (without being conceived as such) the external presence of an icon. [p=30, 2, left]TPAC section model © OMA[/p]

TPAC consists of three theatres, each of which can function autonomously. The theatres plug into a central cube, which consolidates the stages, backstages and support spaces into a single and efficient whole. This arrangement allows the stages to be modified or merged for unsuspected scenarios and uses. The design offers the advantages of specificity with the freedoms of the undefined. [p=30, 2, left]Section © OMA[/p]

Performance centres typically have a front and a back side. Through its compactness, TPAC has many different “faces,” defined by the individual auditoria that protrude outward and float above this dense and vibrant part of the city. The auditoria read like mysterious, dark elements against the illuminated, animated cube that is clad in corrugated glass. The cube is lifted from the ground and the street extends into the building, gradually separating into different theatres. [p=30, 2, left]TPAC proscenium playhouse © OMA[/p]

The Proscenium Playhouse resembles a suspended planet docking with the cube. The audience circulates between an inner and outer shell to access the auditorium. Inside the auditorium, the intersection of the inner shell and the cube forms a unique proscenium that creates any frame imaginable. [p=30, 2, left]TPAC Super theatre © OMA[/p]

The Grand Theatre is a contemporary evolution of the large theatre spaces of the 20th century. Resisting the standard shoebox, its shape is slightly asymmetrical. The stage level, parterre, and balcony are unified into a folded plane. Opposite the Grand Theatre on the same level, the Multiform Theatre is a flexible space to accommodate the most experimental performances. [p=30, 2, left]TPAC Supertheatre © OMA[/p]

The Super Theatre is a massive, factory-like environment formed by coupling the Grand Theatre and Multiform Theatre. It can accommodate the previously impossible ambitions of productions like B.A. Zimmermann’s opera Die Soldaten (1958), which demands a 100-metre-long stage. Existing conventional works can be re-imagined on a monumental scale, and new, as yet unimagined forms of theatre will flourish in the Super Theatre. [p=30, 2, left]TPAC public loop © OMA[/p]

The general public—even those without a theatre ticket—are also encouraged to enter TPAC. The Public Loop is trajectory through the theatre infrastructure and spaces of production, typically hidden, but equally impressive and choreographed as the “visible” performance. The Public Loop not only enables the audience to experience theatre production more fully, but also allows the theatre to engage a broader public.

Project: Taipei Performing Arts Center
Status: Competition: 2008-2009.
Construction begins: 2012.
Scheduled completion: 2015
Client: Department of Cultural Affairs, Taipei City Government
Budget: Estimated: 5.4 billion Taiwan Dollars (around €140 million)
Program: Total 50,000m2. One 1,500-seat theatre and two 800-seat theatres
Height: 63m
Partners-in-charge: Rem Koolhaas, David Gianotten
Associate-in-charge: Adam Frampton
Design team: Ibrahim Elhayawan with: Yannis Chan, Hin-Yeung Cheung, Jim Dodson, Inge Goudsmit, Alasdair Graham, Vincent Kersten, Chiaju Lin, Vivien Liu, Kai Sun Luk, Kevin Mak, Slobodan Radoman, Roberto Requejo, Saul Smeding, Elaine Tsui, Viviano Villarreal, Casey Wang, Leonie Wenz
Competition team: partners / designers: Rem Koolhaas, David Gianotten, Ole Scheeren, and senior architects: André Schmidt, Mariano Sagasta and Adam Frampton, with: Erik Amir, Josh Beck, Jean- Baptiste Bruderer, David Brown, Andrew Bryant, Steven Chen, Dan Cheong, Ryan Choe, Antoine Decourt, Mitesh Dixit, Pingchuan Fu, Alexander Giarlis, Richard Hollington, Shabnam Hosseini, Sean Hoo, Takuya Hosokai, Miguel Huelga, Nicola Knop, Chiaju Lin, Sandra Mayritsch, Vincent McIlduff, Alexander Menke, Ippolito Pestellini, Gabriele Pitacco, Shiyun Qian, Joseph Tang, Agustin Perez-Torres, Xinyuan Wang, Ali Yildirim, Patrizia Zobernig
COLLABORATORS
Local architect: Artech Architects
Theatre consultant: dUCKS scéno, CSI
Interior designer: Inside Outside
Landscape designer: Inside Outside
Acoustic consultant: DHV
Structural engineer: Arup Structure, Evergreen
MEP engineer: Arup MEP, Heng Kai, IS Lin
Fire engineer: Arup Fire, TFSC
Lighting consultant: Chroma 33
Facade engineer: ABT, CDC
Sustainability consultant: Arup Building Physics, Segreene Geotechnical engineer: Sino Geotech
Traffic consultant: EECI Traffic
Model: Vincent de Rijk, RJ Models
Photography: Frans Parthesius, Iwan Baan
Animation: Artefactory
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  #28  
Old Posted Feb 19, 2012, 4:45 PM
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well, it looks better in the new renderings now that the building is seen clad in glass and metal. compared to the scaled model which were painted in black and white and had a wooden box sticking out which looked ugly (i dont know why koolhaas didnt paint that part white. too lazy?) but i still dont like the overall shape with the ball sticking out on side side held up with 2 huge pillars and slanted boxes coming out on the other sides. but it's designed by a big name foreign architect so it will definitely get global attention. and it's still better than the overall state of architecture in taiwan.
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  #29  
Old Posted Feb 20, 2012, 1:09 AM
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Originally Posted by kalifese View Post
well, it looks better in the new renderings now that the building is seen clad in glass and metal. compared to the scaled model which were painted in black and white and had a wooden box sticking out which looked ugly (i dont know why koolhaas didnt paint that part white. too lazy?) but i still dont like the overall shape with the ball sticking out on side side held up with 2 huge pillars and slanted boxes coming out on the other sides. but it's designed by a big name foreign architect so it will definitely get global attention. and it's still better than the overall state of architecture in taiwan.
It is just paradox by what you are talking.
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  #30  
Old Posted Jul 27, 2013, 5:14 PM
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taken by 城市寶寶 from taiwan-city forum
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  #31  
Old Posted Jul 4, 2014, 11:42 PM
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  #32  
Old Posted Jul 7, 2014, 7:40 AM
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Taipei's performing arts Center is very Impressive! I just happened to see this update on the SSP'S main forum page. San Antonio, Texas is also building a new world class performing arts center. The original structure was built in 1929 but only the historical facade remains.

It is neat to see the different architecture from around the world on this website. Thanks

Here are a few photos.

https://www.tobincenter.org/venues






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  #33  
Old Posted Jul 7, 2014, 11:09 PM
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Originally Posted by Paul in S.A TX View Post
Taipei's performing arts Center is very Impressive! I just happened to see this update on the SSP'S main forum page. San Antonio, Texas is also building a new world class performing arts center. The original structure was built in 1929 but only the historical facade remains.

It is neat to see the different architecture from around the world on this website. Thanks

thanks for sharing. GO SPURS!!! im glad they beat da heat!!
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  #34  
Old Posted Dec 1, 2014, 9:33 PM
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  #35  
Old Posted Aug 23, 2015, 11:48 AM
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  #36  
Old Posted Mar 7, 2016, 1:22 PM
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taiwan-city forum
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  #37  
Old Posted Jul 1, 2016, 3:23 PM
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Seems almost done!







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  #38  
Old Posted Aug 28, 2016, 9:18 AM
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  #39  
Old Posted Nov 16, 2016, 2:37 PM
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  #40  
Old Posted Dec 1, 2017, 3:13 PM
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