Casa Milà, also known as La Pedrera, is a building in Barcelona designed by Antoni Gaudi between 1906-1910. It uses various passive design strategies suited for Barcelona's climate, including an undulating facade, courtyards for cross ventilation, skylights and chimneys for natural lighting and ventilation. Gaudi's innovative and organic design maximizes natural light and airflow throughout the building's nine levels without mechanical cooling or heating.
Surname 1Name of the student Subject Villa Rotond.docxmattinsonjanel
Surname 1
Name of the student:
Subject: Villa Rotonda
Introduction
Alongside the mosque of Cordoba, Villa Rotunda stands as an architectural marvel in Western Europe. The design, aesthetic grandeur, the décor and the landscape are perfectly blended to achieve a harmonised parallelism of the renaissance villas. The design, done by Andrea Palladio is a quintessential representative of the Venetian Renaissance art movement that was prominent during the construction and the excogitation of La Rotunda (Andreorio 18).
Direction and site of the Mansion
Currently, the mansion stands on the outskirts of Vicenza city in Italy and has been listed by the UNESCO as a world heritage site due to its unique and intelligible design. Facing the Western cardinal point, Palladio erected the building at the peak of the hillocks of Vicenza, a perfect location of the mansion considering the rocky nature of the area onto which the building is anchored onto.
Landscape of the mansion
Indicated on a hilly platform, the design of the mansion took into account a very key architectural principle in design – viewpoint. The focus of the designer, while locating the villa on the hilly location, was to establish a panoramic view of the surroundings (Mitrovic 119). Documented history reveals that Palladio himself, planned to locate the mansion at the centre of the hillocks overlooking the surrounding hills, this was to establish a decent façade for the villa, a marvel that contributes greatly to the aesthetical value of the building (Mitrovic 111).
In designing the location of the villa in terms of the landscape and the design of the surrounding environment, Palladio must have laid his main focus on getting maximum lighting from the sun (Bloszies 101).. The higher ground receives direct solar insolent (Parissien 118). The design was meant to capitalize on the full reception of the sun rays thereby providing maximum light to the building, a very important precept in design and construction. The patio erected by Palladio leading right into the front door of the house leaves a landmark terrace that has been termed as an extra reinforcement to the house. The design, according to analysts, was done to ease the accessibility to the main house; it linked the garden to the main house providing a perfect avenue for accessing the main house (Parissien 126).
La Rotunda: Landscape of the mansion
(
http://www.theguardian.com/artanddesign/2009/jan/05/architect-andrea-palladio)
Ventilation and circulation
Analysts have attributed the design of the palatial mansion to the humanistic approach that the renaissance art instituted during the design era of la Rotunda Villa (Bloszies 322). For the building to achieve maximum ventilation, Palladio insisted that the location of the mansion must be on top of one of the small Hillocks in Vincenzia (Semenzato 132). This concept was established from the architectural concept of elevating the house so that circulation ...
Surname 1Name of the student Subject Villa Rotond.docxmattinsonjanel
Surname 1
Name of the student:
Subject: Villa Rotonda
Introduction
Alongside the mosque of Cordoba, Villa Rotunda stands as an architectural marvel in Western Europe. The design, aesthetic grandeur, the décor and the landscape are perfectly blended to achieve a harmonised parallelism of the renaissance villas. The design, done by Andrea Palladio is a quintessential representative of the Venetian Renaissance art movement that was prominent during the construction and the excogitation of La Rotunda (Andreorio 18).
Direction and site of the Mansion
Currently, the mansion stands on the outskirts of Vicenza city in Italy and has been listed by the UNESCO as a world heritage site due to its unique and intelligible design. Facing the Western cardinal point, Palladio erected the building at the peak of the hillocks of Vicenza, a perfect location of the mansion considering the rocky nature of the area onto which the building is anchored onto.
Landscape of the mansion
Indicated on a hilly platform, the design of the mansion took into account a very key architectural principle in design – viewpoint. The focus of the designer, while locating the villa on the hilly location, was to establish a panoramic view of the surroundings (Mitrovic 119). Documented history reveals that Palladio himself, planned to locate the mansion at the centre of the hillocks overlooking the surrounding hills, this was to establish a decent façade for the villa, a marvel that contributes greatly to the aesthetical value of the building (Mitrovic 111).
In designing the location of the villa in terms of the landscape and the design of the surrounding environment, Palladio must have laid his main focus on getting maximum lighting from the sun (Bloszies 101).. The higher ground receives direct solar insolent (Parissien 118). The design was meant to capitalize on the full reception of the sun rays thereby providing maximum light to the building, a very important precept in design and construction. The patio erected by Palladio leading right into the front door of the house leaves a landmark terrace that has been termed as an extra reinforcement to the house. The design, according to analysts, was done to ease the accessibility to the main house; it linked the garden to the main house providing a perfect avenue for accessing the main house (Parissien 126).
La Rotunda: Landscape of the mansion
(
http://www.theguardian.com/artanddesign/2009/jan/05/architect-andrea-palladio)
Ventilation and circulation
Analysts have attributed the design of the palatial mansion to the humanistic approach that the renaissance art instituted during the design era of la Rotunda Villa (Bloszies 322). For the building to achieve maximum ventilation, Palladio insisted that the location of the mansion must be on top of one of the small Hillocks in Vincenzia (Semenzato 132). This concept was established from the architectural concept of elevating the house so that circulation ...
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
3. INTRODUCTION
Name: Casa Mila
Architect: Antoni Gaudi
Timeline: 1907-1910
Location: Passeig de Gràcia,
Barcelona, Spain
Style: Modernism (Art Nouveau)
Casa Milà, popularly known as ‘La Pedrera’ (the stone quarry), is a Modernist building in Barcelona,
Spain.
Designed by Antoni Gaudi, it is characterised by its organic-like undulating façade and surrealist
sculptural roof.
Built between 1906 and 1910, Casa Milà was commissioned by the industrialist Pere Milà i Camps and
his wife.
It would be Gaudi’s last civil work and is considered to be one of his most adventurous and innovative
designs
4. Topography And Climate
Continent: Europe (Semi Arid,Mediterranean,Humid Subtropical,marine,humid
continental,subarctic,tundra and highland climates)
Country : Spain (Mediterrranen,oceanic and semi arid climates)
City :Passeig de Gracia,Barcelona (Warm and Temperate Climate)
TEMPERATURE-Its average annual temperature is 21.2 °C (70.2 °F) during the day and 15.1 °C (59.9 °F) at
night.
SUMMER- with average temperatures around 28–29 °C (82–84 °F) during the day and 22–23 °C (72–73 °F) at
night.
WINTER-with average temperatures around 16 °C (61 °F) during the day and 10 °C (50 °F) at night.
5. RAIN-The average annual precipitation is less than 640 mm (25 inches),
ranging from 20 mm (0.79 inch) in July to 91 mm (3.58 inch) in October.
WINTER-with average temperatures around 16 °C (61 °F) during the day and
10 °C (50 °F) at night.
WIND-Though Barcelona is normally not a windy city, it is affected by sea
breezes from May/June to September and winds from the west and northwest
in winter.
6. Layout
The distribution of a typical floor is
notable for its irregular geometry
its well-defined internal organisation,
intended to make the most of the south-
facing main façade.
People circulate within the building by
using the well-lit, wide corridors around
the courtyards.
The lifts provide direct access to the
entrance of the flats on each floor.
Each floor is divided into four apartments
in such a way that each one has a section
of the main façade.
8. Facade (Curtain wall)
The façade of CASA MILA is not a structural
element: rather than serving the traditional
function of load-bearing wall, it is instead a
curtain wall.
The blocks of stone (numbering more than
6,000) are connected to the structure by metal
components, thereby making the large windows
in the frontage possible.
There are three types of stone in the façade:
limestone in the lower parts and in some of the
structural elements; stone for the bulk of the
façade; and limestone from Ulldecona for some
of the features .
9. The Wrought Ironworks
The complex and expressive wrought-iron
grilles of the 32 balconies were made using
scrap iron sheets, bars and chains in an
unusual but remarkably effective
accumulation that complements the
architecture and provides a decorative
element.
Large sheets of glass were unavailable at the
time, so Gaudi fitted together a series of
panes in irregular shapes, based on animals
and plants, creating an area of small,
protected pieces of glass in the lower part
(where they are at greater risk of being
broken) and larger, more luminous pieces at
the top.
10. Basement
He used slender iron columns, as well
as an innovative metal structure
reminiscent of a bicycle wheel, to
support the floor of the courtyard
above.
The use of iron enabled him to reduce
the built volume and to gain
manoeuvring space.
Courtyard
Gaudi introduced a major innovation
into the type of buildings that had gone
before. As well as small ventilation
shafts
he built two large courtyards to
improve the lighting and ventilation of
all 16 apartments.
Basement and Courtyards
11. Attic
Gaudi constructed the attic on the floor slab of
the top storey.
To avoid adding to the weight of the building, he
used 270 catenary arches made of brick to
support the roof terrace.
Roof-terrace
The roof of Casa Mila (La Pedrera) not only seals
the building against the elements but also
reveals three of Gaudi’s concerns: insulation,
lighting and ventilation.
On the rooftop, we find order, beauty and
tremendous functionality in the built features:
stairwells, ventilation towers and chimneys.
Attic and Roof-terrace
14. An effective Mediterranean style for passive cooling and provides natural light to all nine levels
Consists of a series of catenary vaults which create an attic space between two roofs and traps air and
shades and insulates the building
The roof- It’s crowned with six skylights, six snail-shaped staircases (that also house the water tanks)
and twenty-eight chimneys twisted so the smoke escapes more easily.
The house has a natural ventilation system, which makes air conditioning unnecessary and in Gaudi’s
plans were provided with an elevator, however the elevator wasn’t built in the building until much
later.
During the day in Barcelona, the wind blows from inland to the sea but at night that reverses
and, the cool sea breezes blow inland
Designed with eastern gaps low in each floor that can be regulated with wooden louvers to
cool the structure in the evening
The sun heats the air causing it to rise through the vents and create cross-ventilation across
the thermal mass of cool floors in the flats
In the wintertime the system changes; the eastern gaps are closed, and the upper skylights
turn the courtyard into a greenhouse
Warm air goes into each flat through courtyard windows that can be opened.
15. Natural and mechanical ventilation
Gaudí decided to apply some architectural
innovations to his buildings in order to
accompany growing hygienic current
emerged throughout Europe
The idea starts with Two courtyards
through which the floors of the building
are organized, facilitating the most
optimal ventilation of all the floors and
rooms of the building.
17. The idea starts with Two courtyards
through which the floors of the building
are organized, facilitating the most
optimal ventilation of all the floors and
rooms of the building.
A cross ventilation is achieved that
manages to quickly renew the air of the
house.
It is in this sense that we find one of the
most innovative examples that Gaudí
applies to the building, the double blind in
the windows facing the central courtyards.
With this design it’s possible to ventilate
by opening the top of the window, which
has its own blind, and keep the bottom
shutter down or open, depending on the
desired solar control, but without having
the window open.
Opening and Ventilation
18. Thermal comfort
Gaudi’s Casa Mila demonstrates
this sliced corner convention.
Its historic walls embody the
biomorphic movement, as do the
thermal conditions.
Not only does Barcelona’s mild
climate eliminate air
conditioning as a necessity but it
was also built prior to
widespread air conditioning use,
allowing its thermal conditions to
be representative of nature as
well.
Casa Mila’s inner courtyard and rooftop are two spaces of interesting thermal comparison.
Both are exposed to the elements, although one retains the sensation of being indoors.
the entrance of solar radiation through the oculus would warm and store the heat in the courtyard four levels
below.
However, the diameter of the skylight only allows for direct sunlight to access individuals at the ground level
for a limited time. The rooftop of Casa Mila would probably exhibit a similar air temperature to that of the
inner courtyard.
19. Lighting
Both are open to the sky and supply
natural ventilation and lighting to
the apartments in Casa Mila.
A light penetrates well into the
basement through skylights and
small roof
The daylight comes through windows
from the courtyard.
window with different shades of blue
that help to soften the daylight.
20. Conclusion
Use of curves and natural components.
Passive energy is used mostly.
