The intention regarding the transformation of Frank Gehry’s Design Museum involved the manipulation of particular architectural elements upon the building to re -rom a dynamically unique motor yacht. Through forms portraying notions of fluidity within a spatial dynamic, has one been able to create juxtaposition between the structural elements and the organic forms to alter the individual’s initial interpretation of the building. Such a notion extends to the interior design of the yacht; as such unique architectural elements are interconnected in a manner to enhance the interior spatial dimension creating a similar sense of fluidity upon various levels, similar to the Vitra Design Museum. The overall design attempts to encompass a sense structure while remaining to do so through the interplay of curvature elements. The notion of transforming such a building into a super motor yacht was decided upon due to the manner in which, they portray a sense of military design which I believed could be re-interpreted through the unique architectural elements upon the Vitra Museum. The title of the yacht ‘Maniere’ originates from the sense of form in terms of distinguishable features within singularity chosen due to the manner in which the term Vitra originates within French language, thus one decided to interrelate the title of the yacht to the main architectural conceptual notions behind the design. Through such a seamless interconnection of junctions between the curvature elements and ¬square profiles does such a design portray the notion of interplay between the hidden structural and organic form, thus enhance the overall design intention of Gehry. Thus in concluding it is through the individual’s perception and expression which determines whether the design of such a yacht accurately portrays the key architectural principles behind such an architectural master piece through their own enhanced depth of knowledge.
The overall structural nature of the Maniere Yacht is one of quite complexity due to the curved and unique form of the main body in relation to the advanced composite hull. The design has ensured that the overall complex form remains symmetrical to reduce the required engineering in regards to such areas as displacement and buoyancy. Outlined below are the main conceptual structural details, including selective elevations.
Yacht Title: ‘Manière’
Flag: France, Paris
Port: Yacht Club de France
Overall Length: 82.29m (270’)
Waterline Length: 67.36m (221’)
Beam: 16.45m (54’)
Draught: 6.09m (20’)
Price: Approx $50,000,000 USD
Charter: Approx $700,000 per week.
Speed: 20-30 knots. ¬
Propulsion: 3 Diesel Caterpillar 3516 DITA SCAC,
Output: 3 / 2717hp, 8,151hp Total
Stabilizers: 4 x Quantum Zero Speed.
Capacity: 12 Guests, 10 Crew
Conceptual Interrelation: Spatial Dynamic:
With regards to the transformation portrayed here upon Frank Gehry’s ‘Vitra Design Museum’ ones intention was to perform a re-design which maintained to restore the original architectural principles perceived by Gehry. Through a developed understanding have I been able to identify the architectural elements and the related conceptual intentions to utilise their interior and exterior forms to present, through a unique interplay of forms a yacht. Such an intention exists very clearly through Paul Heyer’s statement:
“The building is a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, inturn directly expressive of the exterior convolutions.”(1)
As one identifies the manner in which the interior is simply an expression of the exterior figure portrayed through the interrelation of forms, one further identifies the manner in which Gehry considered light distribution, volume interpretation and the relationship of spaces within the overall composition to enhance this notion of an interplay between forms. Such develops ones personal perception of the design as it becomes clear that Gehry held the intent of generating a spatially unique and dynamic space of particular fluidity and dimension.
Thus through the design of the yacht portrayed here is one able to identify the manner in which a particular sense of dynamic and spatial fluidity has been considered through the symmetrical re-interplay of form. Furthermore one identifies the manner in which such an interiors spatial dimension is considered through the lack of exterior windows, allowing for a seamless surface to ensure continuous and hence fluid transition of the interior and exterior forms and spaces, apparent within the centre of the main body as the exterior curves meet at the slimiest possible angular junction. Enhanced through the particular incorporation of sky lights with reference to light distribution as light is able enter from above reflecting and refracting upon the surfaces interrelation as evident within the cross component as such penetrates the main body, allowing for light to disperse as though through an optical fibre through the body. Overall the yachts design operates as a conceptual re-interpretation of Frank Gehry’s architectural principles regarding fundamental space and form analysis.
(1) Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p233-234.
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