Final Text Component
Scuderia, originating within the Spore creature creator program portrays the contextual history of formula one through unique automobile inclusive design features. While one identifies the interconnection between the creatures’s identification and the historical Ferrari Formula One racing team. The design begins with the representation of formula one history in the presentation of the ‘thin, unique racing slicks’ which reemerged within the design of such automobiles as the ‘Ferrari 500’ in 1953. Furthermore the custom exhaust form reflects that of the 1960’s era which appeared on the Ferrari 158 of 1965. Continuing through to the 1980’s we identify the unique mid section air-intake system which emerged on the Williams FW11 of 1986 until truly developing in the 1990’s through such designs as Benetton’s B194. Through such a collaboration of design features throughout history one is presented within an overall historical representation of formula one.
The natural manner of Scuderia is one of quietness and patience due to his daily routine of simply presenting himself to automotive enthusiasts. While his appetite involves feeding upon other museum exhibitions such as trophies, artworks and the occasional dash of motor oil, as he roams the quite gallery spaces of an evening once all the visitors and staff have left for the day. Scuderia is situated within the upper "F" wing gallery space due to his significance within the perception of formula one automobile history.
The architectural form of Scuderia’s environment portrays a modernist contextual juxtaposition to the remainder of the city. Such alludes to a sense of historical exploration, as the city portrays a continual movement through history while the museum presents a stationary point, hence presenting the past for the present. The structural form of the museum portrays and represents the initials of the museums title in the form of ‘Formula Automobile’. Such that an extrude ‘F’ lies upon an extruded ‘A’ creating a series of unique gallery spaces within. The spaces take advantage of the geometrical shapes, in terms of creating a smooth social flow through the museum, as it remains open to the journey of the visitor while still providing a necessary sense of direction and division. The unique interior architectural form is particularly evident within the sectional image as the angular forms of the spaces become evident. Such a social flow within the gallery space is enhanced through the glass bridge, providing structural support to the overall contemporary structure. The architectural juxtaposition is evident with the projects site plan as the dramatically contrasting forms become evident. Although the structures throughout the site and the city are of reasonable geometrical principles, it is through the manner in which such shapes and principles are placed together that creates such a contrast between history and contemporary modernism.
Final Colour Scheme
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