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The Walt Disney Hall

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The Walt Disney concert Hall lies at 111 South Avenue in Downtown Los Angeles-California.  This prestigious hall is the fourth of the Los Angeles Music Center. Its sitting capacity is 2, 225 people and is bordered by Hope Street, Grand Avenue, 1st and 2nd Streets. It has various purposes among them key being home of the Los Angeles master chorale and Los Angeles philharmonic orchestra.

An initial gift was in 1987 by Lillian Disney to set up a performance venue serving as both a gift to residents of Los Angeles and attribute to Walt Disney’s dedication to the city and arts. The building that was later officially opened on 23rd October, 2003 was designed by Frank Gehry and its acoustics done by Yasuhisa Toyota. It was commissioned in 1988.

The building has gracefully lived up to its expectations as opposed to few others that came burdened with massive public expectations. It is the most significant work ever created in the history of Los Angeles by an architect living in his native city. The hall’s colorful undulating exterior expresses the contemporary cultural values, its stainless steel forms unfold with superb lightness. The interior is womb-like and intimate.

The building is a touching work of architecture with a strong ability to express a deeper creative conflict. It recognizes that ideal beauty hardly exists in a flawed world. The Walt Disney Hall inhabits a special place in the evolution of Gerhry’s profession.

The completed Disney’s poses flickering forms which erupt out with some kind of mad enthusiasm. The main is enclosed behind canted walls canted walls, being set in an angle on the site, a fact that fives it a vibrant connection to the street. The hall sets out an exciting mood with as it houses the lobbies and foyers whose layered surfaces drip out above the avenue similar to the petals of an exotic flower.

The designs additionally suggest a city that has been violently torn apart and gradually collecting itself together. Its surfaces break open to give views of the interior from the streets with swooping steel floating above the entry, along Grand that echoes the extra static curved façade of the Chandler Pavilion.

A more open relationship with the public and the street has been expressed in Gerhry’s design as the restaurant and the lobby are situated alongside Grand in the wake of glass panels. The passersby are invited into the magnificent building by a section of facade that seems to float over the sidewalk from above.

Steel facade looms on top of glass doors raw at the top of the stairs with a limestone wall extending along 1st. this wraps around complex’s back forming a base for an upper-level, outdoor garden. The whole building works as a tool for seduction that lures the public into this progressively more intimate architectural experience.

Furthermore Walt Disney’s design is a pointed rejection of the cool, machine-inspired of the late Modernism. Through it Gehry describes an architecture that is rooted in disorderliness of day to day’s life. He aims to break down the accepted the social customs hence liberating the creative imagination.

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By moving through the building, a clear impression of architecture entrenched in more intricate psychological becomes apparent. Arrival via underground parking calls for riding a series of escalators up to the Grand Avenue lobby. At the top of the stairway, light sifts down via a big skylight atop the stairway.  Upon arrival at the lobby level, they are fleetingly reconnected with the outside life as a sweeping view opens up to the avenue.

After here, there are a series of foyer balconies curving up through the interior. The forms wrap around the volume of the main auditorium. There is a curvy line of rose-colored marble bar that frame the edge of the narrow balcony at the third-level foyer. Here, visitors can peer out to the intersection of 1st and Grand or down to the main lobby. This view however disappears, as the space bursts up to the sky whenever one slips along the bar. The effect is outstandingly serene here creating a feeling like one is being momentarily poised between two worlds.  

However, the meaning of this social pact hall finally become apparent only as one finally enters the hall. Designing of this hall was completed in 1963 under the influence of Hans Scharoun’s Berlin Philharmonie- postwar architecture’s landmark. Disney Hall’s interior is organized in what is referred to as vineyard pattern with seats arranged around all four sides of the stage like Scharoun’s Philharmonie. The layout of the hall is more open in Berlin with its energy being less focused: composition of Gehry’s hall is nearly classically conceived and more compact.

The orchestra seats cascade down towards the stage in a series of terraces when viewed from the uppermost balcony. On either sides of the hall, two convex walls press in towards the stage with a series of staggered balconies rising up behind them. There is Douglas fir ceiling’s voluptuous above the hall that form wilts down over the room like a swelling canopy. The entire composition of the hall is tied together by the by a bundle of large wood and brass organ pipes that bursts from between numerous more rows of seats behind the stage.       

The tension is nearly too much to tolerate. But it is relieved subtly by Gehry by permitting the forms to break open at the upper four canners of the room that is glowed with a soft, warm light on its white surface so characters can be viewed clearly with ease. A framed view of the sky is provided by a large T-shaped window that is just behind the top balcony seats.

This room lies in the seventeenth century Baroque architecture of Francesco Borromini and Gianlorenzo Bernini since it has a precedent. Gehry’s intricate composition of convex and concave forms instills the space with an exquisite visual complexity like in Borromini’s S. Ivo della Sapienza in Rome. There is heavenly play of light and shadow.

In this case, Gehry is attempting to express something deeply personal. As a teenager, he moved to Los Angeles when his family was staggering on the edge of poverty at the moment. Gehry’s sister sometimes played the harp at night after dinner a way of binding the family together. As a result, music became source of spiritual nourishment. Thus, it is not surprising that his hall emerged to be a model of democratic values. Since there are no private boxes in the hall, each seat provides its own unique view.   

Gehry engages the audience in a remarkable communal experience by wrapping the seats so tightly around the stage. As a result, concertgoers become closely conscious of orchestra in addition to other events in the hall. In the hall, music is a socializing force, a place of shared human consolation.     

Even though it is not leave this space, Gehry went to a large extent to care for this sense of familiarity. Foyers now function to slow the process of reentry into the outside world since they permit visitors to withdraw from it. Thus, the surrounding cityscape is opened to the various views again.

The building’s layered exterior peels apart to provide a perfectly framed view of City Hall on the fourth-floor of the foyer. Doors lead out to the elevated garden on the opposite side of the building. A corner of the site is anchored with a mirrored stainless-steel Founders Room. Lon the north of the hall, there is San Gabriel Mountains that is framed by glass facade of Water Department and power building and the back of the Dorothy Chandler Pavilion while the downtown skyline rises in the near distance to the south.

These urban elements become section of the architectural composition. It is as though Ge hry was pointing out optimism moments in downtown’s hard-edged urban scenery. His objective was to change our view of the city by suggesting its secret, untapped latent. One of the designs’ few awkward moments is included in the garden area. Garden is connected to grand by the concrete steps. On one side, the stairs are flanked by the stoic stone form of the L.A. Philharmonic office building. The other is framed by a fragment of stone wall and the sculptural steel of the café’s roof.

In 1998, the design for the offices was included to the general plan and the region was redesigned significantly even though the steel roof ends suddenly as if it was sliced off carelessly at one end. There is no therefore full resolution of the relationship between various forms.

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