The Basque Culinary Center Of Paris, The Whipped Stream...

In this chapter examples by which architectural works are informed by food are examined through four case studies. They include the Basque Culinary Centre, Elevated Market and Culinary School in Paris, The Whipped Stream International Gastronomic, and Coquinarium Gastronomic Center. They were chosen based on their ability to advise critical aspects of design such as form, structure, organization and building facade. The precedents also demonstrate a range of methods by which food influence architecture, whether displaying a literal or a more poetic application of the theme. The Basque Culinary Center is located in Donostia-San Sebastià ¡n, Gipuzkoa, Spain and sits next to the Miramon Technologic Business Park. Designed by Spanish design†¦show more content†¦Particularly in three groups, the first relates to the Academic area, the second aspect deals with the Practice area and the last focuses on the Research area. By combining these three groups in a vertical manner, each space within the design relates to the Gastronomic Practice area. Spaces such as the changing-rooms, ateliers, precooking kitchen, access to raw materials and other kitchens, assist in the development of a strong interconnection between the spaces, people and the food being consumed in a direct way. At a distance the building shows the different levels that gives the composition a unique character. Comparing its scale to the buildings of the Technologic Business Park, at short distance the roofs become areas used for cultivation of edible and aromatic plants, which almost neutralize the effect of the building towards the closest semi-detached housings. From a conceptual perspective, formulating the design composition is based on the scale work between the â€Å"iconographical image† (piled up dishes) and the building itself. The artist Robert Therrien (Chicago 1947) handles daily kitchen objects as dish services, pots and uplifts them into artistic objects, by means of accumulations, along with scale multiplication. The plane character of these objects takes contrast with their iconographical presence when they assume their new dimension. The same strategy has been taken to the exterior volume definition of the building, where the Therrien ´s