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Representation line might establish the importance of a constructions. Freed from material specificity, primary wall in defining the limits of the space they can suggest fluid conceptual associa- or the surface of the ground from which tions between unlike materials but whose a volume is emerging.
Two distinct forms of on their scale focus on one or two salient of architectural space as the models vision. Building sections are vision are simultaneously concepts with which the work is being necessitate the literal construction of the drawn onto glass slides that demonstrated: one a series of developed. Due to the ease with which space as formwork for the actual production are incrementally inscribed reiterative and flattened into the body of the house.
A steel model, on the other Here, the reverse perspective perspectival albeit reverse 30 transformed, and even intentionally misread. They can infer materiality through the exploring the qualities of a concept that is connects the carport to the dimension and deployment of their compo- informed by a component system�one that 31 nents�thick suggesting material massive is additive or layered�where repetition i. And as with analog, serial repetition to provide digital drawings are constructed�but unlike the fundamental spatial and structural tools that can be the analog, the construction of the digital subsequently morphed and image does not evolve as a continuous transformed to produce operation.
Instead, it is a process of spatial composition as a function of programmatic introducing layers of information that, as specificity.
Establishing a set of specific constraints and behaviors can generate complex forms and performative behaviors and relationships that subsequently allow for the interactive testing of alternatives within a context of both physical and behavioral environments. Software programs such as AutoCAD require the use of an inventory of line weights to create hierarchical differentiation. If this differentiation in the analog is developed through the processes of drawing, with the computer the weight i.
In other words, a certain knowledge or intention is required. Computational processes often deploy geometric primitives that are subsequently iterated, repeated, transformed, informed, deformed, and reformed to produce architectural form.
The data that motivates these procedural transformations of the primitive can be informed by a broad range of criteria structural, performative, ecological, and so on. The resulting architectural vocabulary is one that often registers these aggregations of morphing, transforming, and accreting primitives.
Here, the architect is no longer the maker, per se, but the choreographer of processes that J. Mayer H. Quesada Lombo, D. The space for the building to programmatic, structural EatMe Wall project, shown which it is attached.
These here, D. Cupkova, M. Freundt, incrementally adaptive A. Heumann, W. Jewell, Computer applications can be directed to program a wide range of machinery that operates in very distinctive ways. Some use a laser to cut thin layers of material that can subsequently be assembled into three- dimensional models laser cutter. Others use drills to remove or excavate material from an existing material mass CNC mill , and still others aggregate lightweight granular material via a series of successive layers to produce an essentially homogenous three-dimensional object 3-D printer.
Each of these fabrication processes is allied to conceptual strategies that can be uniquely In these study models�for an exceed the normal graphic forms. These models give the 32 addition to the Stockholm and modeling capabilities of designer the freedom to explored through the technological Public Library by student standard analog techniques.
Plans Elevations Plans are drawings that reveal the relationship Elevations allow one to describe the vertical of surfaces and volumes in space.
They are surface. They are useful for studying the horizontal cuts through space, typically taken interface between two unlike conditions as at eye level looking down into the space. Without a plan, you Axonometrics have lack of order, and willfulness. Within each with Le Corbusier, one arrived at the third drawings that allow one to study multiple Villa at Carthage shows space, one is simultaneously dimension not through the construction of an surfaces of a volume simultaneously.
They a series of interlocking occupying at least three spaces. It is perhaps the spaces: the space that one is image but as the result of the transformation are often used to represent architecture as a clearest example of Le physically occupying is of the plan into mass, space, and surface.
The single object or as a collection of objects. And it becomes the three-dimensional concept abstract sculpture on a moving eye. But this building Casa del Fascio now Casa for projected texts and a more intimately scaled for the house as a series massive scale, not to be is not made only for the eye; del Popolo in Como, Italy, images viewed from the balcony as it slides in front of of intersecting perspectives.
Here, the combining and flattening of both walls and roof surfaces within the drawing produces a series of spatial layers that reinforce the processional nature of the complex, emphasizing the status of the iconic objects that populate the interstitial layers.
The density of the drawing 3 presents the cemetery as an extension of the city Vision is the generator of the wall in New York City. A series beyond�a city of the dead. Perspectives Perspective drawings tend to privilege the eye of the observer and what her or his experience might actually be from a particular point of view.
While they create the illusion of three-dimensional depth, they can also be used to exaggerate the signifi- cance of a certain object or space through the convergence of lines toward one or more common vanishing points. Animations explore the temporal aspects of an architectural concept and the potential of a space or material to undergo transforma- tion.
They tend to be iterative drawings that can isolate a spatial sequence through which one is moving or a more ephemeral condition of light as it moves across a room.
An fused entity. The distinctions aggregate conceptual richness. An architectural program is, in its most basic form, the list of requirements that initiates a project. Outlined by the client, often with the assistance of either an architect 36 or a special consultant, this type of program generally 37 represents a compromise between desire and budget.
The victory alternately by the Arch of Augustus outside French, the Germans, and the Aosta, for example, connotes Allied troops , and as a monu- a first-century BCE victory ment to achieved peace. Its over a Gaulish tribe.
Even in the case of a The Empirical Program of dimensions concerning height, grasp, eye house, it is unlikely that a client would The empirical aspect of a program can be level, and the variable dimensions related to forever be the only occupant. The data that contributes case of children from infancy toward resemble a client-generated program, but it to the empirical program are basically adulthood. Additional dimensions should be inevitably encompasses specific pedagogic dimensional, functional, relational, and taken into account for the accommodation objectives.
The studio instructor usually measurements determined by building of those in wheelchairs, those with special generates such programs, with stated and safety codes. Dimensional There are certain dimensions that can Foremost in all of these cases are those But despite the apparent clarity a program be taken for granted and that must be dimensions that permit someone to move suggests, accommodating a program is more recognized when compiling a program.
Further, many programs tend unimpeded operation of doors, windows, to include contradictory requirements that The architect should be aware of the kinds and other moving elements. The negotiation or innovation.
The result is a layered living, dining, sleeping, and wine cellar. The three organization, distribution, and theorization between the two�each element self-suffi- daughters occupy a private sanctum within of what we call program. Within this structured by slicing the entire composition along the struct a conceptual framework for making subdivision of program are rituals and longitudinal axis, bifurcating the house function and use architectural, and against sequences that penetrate and actuate the into two halves: parents and daughters.
The scheme assumes the form of a square penetrated by a continuous exterior ramp facilitating the connection between the boulevard and Museum Park. A second passage, posi- tioned below and perpendicular to the public passage, allows for vehicular service access. These crossing paths produce a square cut into four distinct, disconnected volumes.
The resulting circulatory experi- ence is conceived as a circuit of sloping floors and ramps crafted into episodic twists, turns, and counterintuitive move- ments that ultimately connect each part of the complicated sequence, suturing parts fragmented by their initial functional assignments, producing access and orienta- tion along the way. OMA understands the inherent value of addressing architectural program, of embracing functional requirements to help advance the intellectual and performative basis for their work.
They consistently per- form complex acts of functional elasticity whereby the edges, names, and restrictions associated with typical functional limits are tested and teased, allowing for the intermingling and co-occupation of other- wise disparate programmatic elements. This is true not only of the obvious dimensions and docking requirements. A trophy collection, program, it is inevitable that other people, and repetitive. One of a new continuously changing a library of 10, volumes, a classroom with furnishings, or vehicles will need to be series of parking structures in sequence of episodes Miami, the garage at connected by a grand, thirty desks, or various medical treatment housed.
People have children, age, develop Lincoln Road by Herzog and cascading pedestrian stair. The motorcycle may be traded for a minivan. New medical advancements will In addition to the empirical data determined require different equipment. Automobiles have a classroom may need to double or halve. Functional There are few reasons for an architectural design to fail to meet its basic functional requirements�to perform as it is required� as long as those requirements are clearly defined and there are the technical, material, and budgetary means to accomplish them.
Functionality is the extent to which the design is able to perform its tasks. Thought- ful programmatic development can enhance the functionality of a design. Most classrooms benefit from significant exposure to regulated daylight and some even with direct access to an exterior space. Other rooms, however, especially those that deal with various controlled media�such as projections and computing�or light sensitive materials may require an easily darkened space, or one with no direct sunlight.
Often, a program will require a multi- functional space, or the designer may decide that several requirements can be simultane- ously accommodated by merging spaces and their functions, especially if these usages might occur at different times of the day or different seasons of the year.
In designing multi-functional spaces, however, the architect must be certain that the space is ideal for each of the separate functions. It is often the case that such spaces, in their aspirations for flexibility, eventually serve no function very well. Lobbies tend to be near entries, for of both a pavilion and a stand on opposite sides of a example, which should in turn be near ceremony.
Just as the simple wooden table and dip reservoir is a retreat for tin cups�attached to the Muscovites, the pavilion is table with very short constructed of windows chains�into a basin of vodka.
In single conclusion is indeterminate. While loading docks maximum availability of sunlight. Prevailing In , John Soane began laboratory for his architec- inevitably require proximity to a road or winds might be considered for the sake of purchasing and then heavily tural investigations as well an renovating a row of educational environment for driveway, they are rarely positioned in the passive ventilation. The notion of arranging elements by proximity Codes London.
While the program Unfortunately, his surviving for his manipulations was sons developed apathy for is based on the optimization of usage or, Building codes, including safety, zoning, ostensibly that of a large architecture and a distaste occasionally, of expense.
He willed his England and other great house to the nation, and it close to each other, often back to back and These codes are generally determined by structures, saw his house as is now known as Sir John vertically stacked, so that the expenses of municipal, state, and national bodies. A painting studio may widths of corridors to the numbers of fire prefer north light, whereas a breakfast room is exits, from the types of materials that can be 42 best complemented with light from the east.
Obviously, solar collectors Some codes even determine the color, style, inevitably have a preferred orientation, and so and exterior materials that are permitted their location must Boat Excursions Jersey Youtube be determined by the when building in a specific location. Building codes can guard the safety and the living qualities of those who use a building as well as those neighbors who might be affected by the effects of a construction as it alters an environment: its shadows, its emissions, its traffic patterns, and so on.
The relations between programming and designing constitute often the most painful part of the process in the birth of a building. The significant addition to the campus environment. Empathy cafeteria workers and janitors. The role of the architect is to rectify those needs. Ledoux often had the French cultural groups. All of these understandings monarchy as his client, but in the case of his can lead to modifications of a program.
No Program Royal Saltworks, for example, the users were two individuals can have the same experi- an entire city of managers, workers, and their ences, but the architect is obliged to try to families. Today, when designing a school, a understand the best means of empathizing school district may be the client, but the with a user, in order to initiate a productive users are the teachers and students, the and gratifying dialogue.
A municipal orphanage on humanist aspects of the of concrete modules neighborhoods centered on benches, door stoops, orphanage introduced open, 44 the outskirts of Amsterdam city�markets, streets, and containing interior public domed volumes accommo- archways, and ledges� unassigned, semiurban provided the ideal program squares�as they might spaces while encircling a dating residential, living, and respond to the scale of its spaces as well as transitional for Aldo van Eyck, whose correspond to the design of a sequence of exterior classroom spaces for each age young residents, with mirrors niches and nooks to a 45 interests involved the building.
The building, courtyards. From above, the and gender group. Despite its and windows placed in building program that usually relationship of architecture completed in , is building reveals its village- overall diagrammatic unexpected places and nearly values efficiency over vitality.
While programmed as just a stair, the Spanish Steps function as a vertical urban garden, a market, a place to rest, a viewing platform, and seating for spectators. This program blurs the distinctions between one results in districts that exhibit little life or more functions, humans tend to expand outside a few circumscribed hours each day. The hybridization of programmatic elements can lead to a constantly reinvigorated Limitations as Advantages environment, where unanticipated juxtaposi- Every program establishes a set of limits.
Far tions can inspire unexpected and unimagined from being deterrents to the design process, thoughts and activities. The design In Urubo, a small village in Bolivia, Jae Cha designed a small building to be composed of locally harvested wood and translucent polycarbonate sheets.
Once designed, the community built the structure in just ten days. With its luminous wall surfaces lending the structure a sense of lightness and spirituality, the church at Urubo is a beacon of assembly and both the religious and civic nucleus of the village.
A work never exists in isolation. There is always a context in which it is situated, and in which a relation- ship to that context is established. It fuses Through its single columned viewed from the city below. It not previously illegible axis as it boundaries. For one project, it might be the Material physical context that emerges as the most Material can establish a context for a work.
The wood. Or perhaps the material context might dialogue can be one of friendship or of foe, be a particular species of wood in a local one of accomplice or of exploitation, one of forest, or the granite of a nearby quarry. Yet, ultimately, a work has extension of the ground on which it is the ability to give meaning to a context, to constructed�as in a stone house situated on encompass all that already exists within that a rocky outcropping.
In other words, a material context At the Center for the extinct local quarries to Advancement of Public develop a material dialogue Physical Context is an expansive one. They can also Within a context there are two aspects of reclaimed marble from now be strong factors in motivating the concept of scale that need to be addressed. One is the that work. Yet, views that will be perceived from the building.
Siza has devel- oped a practice in which his buildings seem to gather both natural and man-made contexts into virtuoso compositions that suggest they have always been integral features of their environments, even as those environments are constantly changing. The steps leading to the front door tell us of our prox- imity to the sea, of our position within the rocks, of the nature of the large, hovering roof that shelters the tea house.
Later, the Galician Center of Contemporary Art is surrounded by important baroque structures, most notably a former monas- tery with its cascading gardens. When approached from the neighboring school, the angled soffit and ramp seem to elongate the dis- tance toward the monastery, making the historic structure appear to loom larger than it is. The regular grid of the stone cladding underscores the distortion of the surface.
The network, whose circulation and access to air, dwelling becomes a surrogate landscape within which and light, and view are equally dependent on its on which the occupants reside. It can be a visual references the city plan of nearby Santiago de one�as in the views that are seen from the Compostela, Spain, in site. The dialogue established with these site producing a surrogate conditions can initiate spatial complexities. These can take the form of physical traces, as in archaeologi- cal or geological layers, or more formalized transportation and service infrastructures.
It is the dialogue with these infrastructures that can locate a work within a specific context. Layers Occasionally, a site has been previously occupied�an archeological palimpsest, layered with traces of what was once there over an extended period of time. One has to decide how, if at all, these sometimes physical and other times implied, traces of previous occupations are going to inform a subsequent layer.
A museum built over a great roman ruin might be considered diferently than a house 52 built over an old ice shed. Similarly, the structure of a site can be the result of an even The form of the View House apparently contradictory more distant set of geologic events that can by Johnston Marklee and desires to have privacy within 53 subsequently provide insights as to its future Diego Arraigada Architects in a suburban context and yet Rosario, Argentina, develops establish framed views of the evolution.
The nature of this transformation in response to a perceptual distant landscape. Direction and movement over time can inform an and environmental engage- of prevailing winds and angles architecture that anticipates potential disasters. A series of sunlight situate the house of formal distortions solve in its more ephemeral context. As Museum for Roman with an archeological site, the Artifacts in Merida, Spain, geometry of the parallel walls overlays a series of load- registers the location of the bearing masonry walls onto excavated ruins onto which the ruins of a first-century they are overlaid and through BCE Roman town and which they pass with subsequently becomes the abandon.
Existing paths at multiple scales pedestrian, automotive, bicycle, public transportation may be pulled into the building to not only provide access but to be In manufacturing a new site narratives. Its moss walls part of a larger whole. Its resulting form distinct neighborhoods and becomes a civic collector, one in winter it operates as that is reinvented seasonally staircase to the frozen lake.
Ephemeral Context and at multiple scales and The idea of a Grand Prix being held in the city of Monaco or the Spirit Path at the Jongmyo Shrine in Seoul Korea where only The stepped water structures spirits are allowed to walk are but two as documented by Klaus examples of the many invisible contexts that Herdeg in his portfolio of drawings that accompanied require a different form of investigation.
The fourteen chapels of the pavilion establishes the Sacro Monte located near spatial context for one of the Varese, Italy, and completed important events of the life in contain scenes of the of Christ, and like the life of Christ, the Virgin Mary, chapters in a narrative, each and the saints. The chapel pavilion is situated in relation pavilions construct a to its adjacent pavilions to pilgrimage path up the now produce a seamless spatial sacred mountain that journey through the landscape.
They can story, one of legends and of wars or one of Netherlands, designed for a it are spatially mapped within produce specific buildings or landmarks that loves and of obsessions. A translation inevitably couple with two children, that the volume of the house. It can connect a series of will change, and often in quite unpredictable events that might have occurred in vastly ways. Extreme weather�floods, earthquakes, different time periods.
And even though it hurricanes, and avalanches�introduce design may not be physically present, a historical parameters that situate a work in a specific context continues to be alive in the environmental context. A building erected in memories of the citizens. Constructed over 4, years aspects of the design of a structure is its ago, sunken courtyards dot environmental context, a context that can Weather the landscape of Henan province.
These ingenious either affect the building positively as Rates of environmental change can be more dwellings not only take provide warmth or shade or extremely predictable, from a twenty-four-hour cycle to advantage of the relative negatively as in erosion or collapse. Most seasonal variations. And the rain, and wind cannot only be traced in the plane for agricultural fields. Here the house is split open into two halves, permanently registering both its program one side for guests, the other for the owner and its environment, as the house carefully situates itself amongst the 5 trees, opening itself up to the southern light.
Context The Global Seed Vault in the avalanches and major storms. Svalbard Mountains of The roof and front of this Norway , designed by concrete and steel entry is a Peter W. This sculpture, partially carved into a entitled Perpetual mountain for protection from Repercussion by its artist, variable temperatures, Dyveke Sanne, consists of earthquakes, climate change, prisms, mirrors, and steel and other potentially shards that combine with devastating environmental turquoise fiber optics to impacts.
Its entrance is alternately reflect the subtle designed in both shape and arctic light and to glow with material to avoid the risks of its own luminosity. A building exists in, and interacts with, the environ- ment at various scales�from the cellular to the infra- structural�and the definition of that environment is 58 important in framing its relationship and engagement 59 with a design.
These wind towers catch the wind that exists at higher elevations and draws it into the building, facilitating the integration of passive cooling to its interior spaces. Variable conditions that include benefit. Taking advantage of the natural seasonal change, temperature, precipitation, insulation and thermal properties of earth, wind, solar exposure, as well as potentials for example, can suggest embedding houses for extreme weather that can be responsible within the ground or making walls out of for fires, flooding, avalanches, and so on, adobe bricks or rammed earth.
It can harness means, actively engages and takes advantage sunlight to warm its interiors through the of environmental elements. Defining the addition of a plane of glass layered proud of its terms of the environmental boundaries within exterior walls, making what is called a Trombe which a building exists is critical to establish- wall. Daytime heat, captured between these ing the nature of its interaction.
And the two surfaces is subsequently absorbed through The Icelandic turf house emerged as a response to the awareness that a building impacts not just its the walls to its interior at night. A roof covered within an expanded environmental cycle can variations and reduces the need for with thick turf and walls made from double rows of influence such aspects as choice of materials supplementary heating systems.
Responsive landscape form an insulating cover around the timber Architecture can be performative at multiple structure. Grenjadarstadur, Instrumentation scales as it engages the environment. Whether Iceland, nineteenth century. Cell-matrix search to understand how interface by Ihida-Stansbury context or environment can and Yang, responsive wall specify form, function, and assembly by Sabin, Lucia, structure. Green walls planted with native An opportunistic architecture is one that vegetation can provide habitats for natural reuses material that has either been discarded species, improve air quality, absorb rainfall, or considered spent.
The noise reduction. Material fabrication building part landscape, building and create new finds its form through spaces for social interaction. Building envelopes for example, can be Remediation Holistic View engineered to breathe or sweat to repel Buildings and landscapes can contribute to Architecture exists as part of a total moisture or to become more opaque as the cleaning of polluted environments. Environmental economies can they acoustically mediate inside and out.
Contaminated soil and water often found in begin to emerge as a result of considering A responsive architecture is one that under- abandoned industrial wastelands can be the potentially dynamic reciprocity between goes transformation as motivated by its remediated through introducing frameworks multiple species and the environments that engagement with environmental stimuli. It that support plant growths that absorb sustain them. As with the cell, where half of is one that is often embedded with scales existing pollutants or earthworks that isolate what defines its behavior is what exists of programmatic responses from the cellular and contain contaminated earth.
A Bachelor of Architecture component system of thesis at Cornell University triangulated forms of various proposes a series of artificial dimensions and densities groundscapes that draws constructs a system of contaminated water up from elevated walkways, bridges, the water table and filters it and follies, allowing the through a canopy of live pedestrian to experience the material before reintroducing remediated landscape.
The EcoARK constructed as the main exhibition hall of the Taipei International Flora Exposition uses these recycled bottles as its primary building material. The translucent blocks can be disassembled and reused elsewhere. The scalelike wooden shards create a porous skin that not only offers summer shade but can also be detached to provide event seating. Here, rebuilding itself from what trash is separated into has been discarded. Most consider the making of buildings to be an additive process�and indeed it usually is.
It is the layering of multiple materials and systems that, together, construct 64 the completed edifice. However, when a work is concep- 65 tually conceived as a monolithic volume, the resulting mass transcends the thinness of these layers. It Historic Museum in Ningbo stands as a monumental China are constructed of testament of the absence of bricks and tiles recycled from those structures devastated local buildings.
A delicate by disaster and of the imbalance is achieved presence of vanishing between the massive form construction traditions. Mass is the distinct presence of volumetric density. The pyramids of Egypt are masses that convey solidity and impenetrability. Embedded within their cores are the inner sanctums of the pharaohs for whom they were built. The mass is achieved at two as the primary spatial voids. A series of At another scale, bands of often occupiable piers in compressed gneiss produce a was transported is conceptually understood monolithic mass of material spatial dialogue with one as an excavation within this mass�a negative another together construct density.
Processes A sense of mass is achieved by the relentless repetition or aggregation of material or volume that subsequently transcend their individual incrementalism in favor of a monolithic surface or volume. The abstracted urban Sicily�is conceived as a monolith references the a pile of stones or bricks or a stacking of logs. Here, the that construct the ghosted wreckage was amassed back streets is the physical into the blocks by which the detritus of imagined town had originally been narratives.
The exhibition of getting this up there is a recurrent theme in his work, which inevi- tably involves masses that are not simply floating but, at times, appear to be caught between ascent and descent, hovering over plazas, pools, and even other buildings. Still, the levitation of mass demands a resolution in physics, and Mendes da Rocha supplies these resolu- tions � sparingly.
If the neoclassic museum required a grand portico to signify its entrance as well as its importance, Mendes da Rocha uses a giant beam spanning the site to mark the presence of this important museum. Light reflected from the plaza over what might otherwise have been just below lights the galleries through the gaps a hole in the ground.
The huge square arch between the staggered floor slabs. One that marks entry into this important space moves about within the museum with the seems almost to twist and crack as it sends same grace the museum moves about the two brackets downward to support the quay.
Once more, Mendes da Rocha derives asymmetrical, curved arch over the stairs. This arch then frames views from within and through the space, ironically providing Concrete becomes cloudlike. George, subtractive process, a literal 7 twelfth century has been excavation that simultane- carved from the solid volcanic ously produces the mass rock in which it is located.
Mass Subtractive By cutting into a solid, its thickness is revealed; massiveness is disclosed by the removal of substance that allows one to perceive its dimensions. This ground can often become a figural accomplice to the shaping of Conceptually understood as of the regulating lines and architectural space. The mountains. Alejandro collectively opaque, yet Aravena, �05 Characteristics mass�however here density is not equated constantly transforming Density and gravity are terms that are most with weight or lack of space, but rather with commonly associated with mass�the impene- opacity and lack of scale.
Gravity Density While all buildings are in a perpetual state of A sense of mass can be achieved through resisting gravitational forces, an awareness of material or spatial density, as in a stone wall this resistance can be amplified through or a medieval village, where the heaviness of detaching or articulating a structure from its the material and the relationship of solid to ground.
It is in this condition of apparent void contribute to the perception of density. The idealized Italy �09 , are interior is suspended within simultaneously heavy and this exterior shell by strands light. The exterior concrete of concrete shafts that, in shell is a seemingly turn, draw exterior light to impenetrable box that its interior. A common metaphor, whereby architecture is represented as a body, considers structure to be a form of skeletal system.
This is only sometimes true, 72 however, in the cases when the various building 73 systems�skin, mechanical, interior finishes, and so on�are separated. It is and transferring loads into the ground. Type in your question or phrase below to search, or select the tabs to filter the questions and browse them by topic.
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Your Cunard experience starts the moment you arrive at your embarkation port, with porters waiting to collect your luggage before you head off to check in. They are there to ensure every detail of your stay on board is taken care of. After a relaxed lunch you can head off to further explore the ship or return to your stateroom to unwind before sail away. After a short safety drill, make your way up on deck to enjoy a glass of Champagne as your voyage to exciting destinations begins.
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Please ask on board at the Reception Desk and they will be arranged. There is an air conditioning control panel in each stateroom which allows you to control the temperature in your own stateroom between approximately 19 and 27 degrees C. Sheets are made from polycotton by Calderon. You may request sheets and blankets instead of duvets this can request up to 3 days prior to your sailing date by calling our Customer Contact Centre, please visit our website for contact details.
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However, we can provide a duvet over the mattress. If this is required this can be arranged with your Stateroom Steward once you are on board. There are no weight restrictions on the upper pullmans, however there is a weight restriction on the bunk ladder of kg which is approximately 20 Stone. You will be unable to have a King sized bed configuration in your stateroom if any of the upper pullmans are in use. Queens Suite Q5 cabins , , , ; one large white table, two square small tables, two loungers and two recliner chairs.
Penthouse Q3 cabins , , , , , , , ; two stools, one large white table and two recliner chairs. Penthouse Q3 cabins , , , ; one large white table and two recliner chairs. Penthouse Q6 cabins , , ; one large white table, two square small table, two loungers and two recliner chairs. Penthouse Q6 cabins , , ; one large white table, one round small table, two loungers and two recliner chairs. Suite cabins: , , , , , , ,, , , , , , , , , , , ,, , , , , , , , , ; one large white table and two recliner chairs.
Grand Suite Q1 - one dining table with 4 chairs and cushions, two chaise lounge with cushions, two chairs, two ottoman and two tea table with glass top. Master Suite Q2 - one dining table with two chairs and cushions, two chaise lounge with cushions, two chairs, two tea table with glass top. Club Balcony and Balcony - two dining chairs and one tea table. You are welcome to bring as many luggage items with you as you wish ensuring it can all be stored safely in your stateroom.
Each piece of luggage must weigh no more than 23kg. You will still be required to put these through the luggage scanner at the terminal. We have a selection of gifts and little luxuries available for you to pre-purchase for yourself and for those travelling with you.
For more information, visit our Gifts and Celebrations section. We are unable to send gifts to crew members on board, including gifts purchased from our Gift Collection Brochure. All gift purchases from the Gift Collection are applied to guest bookings. Butlers are on board for our Queens Grill guests. They can assist with packing and unpacking, room service, assist with bookings, cocktail parties in your suite and cleaning the room.
All butlers have a bleeper and there is always a butler on duty between 7am and 10pm. Yes, The Royal Court Theatre can be found on each ship. The theatre is located on decks 1, 2 and 3 on board both Queen Elizabeth and Queen Victoria with a capacity of seats per theatre and located on decks 2 and 3 on board Queen Mary 2 with a capacity of seats. Each theatre also has a number of wheelchair spaces, available on a first come - first served basis.
It is not possible to pre book these spaces or any of the seats in the theatre with the exception of Private Boxes as detailed below. You will be offered finger desserts and champagne cocktails in a private lounge area. At performance time, you will be guided to your private box, where bar staff will serve you chocolates and Verve Clicquot champagne. You can make a reservation via the Purser's Office. Please note reservations close at 3pm on the day of the performance. If the theatre is showing a comedian, film or other such entertainment the boxes are complimentary and available on a first come first served' basis.
It is not possible to reserve a box or any seat in the theatre prior to embarkation. There are steps that lead down into each box, however there are 2 boxes which are wheelchair accessible, a guest may join you however please note that space is restricted to one wheelchair and this may lead to guests feeling a little cramped.
During a typical 14 night cruise you will have the opportunity to see up to 6 Cabaret performers and up to 5 Production Shows. All shows are played twice on the same evening, usually at 8. If you are travelling on a back to back voyage i. There is no set opening time for the theatre, it will open for individual events which can vary day to day.
Please see the daily programme, your on board news paper for entertainment events and times. Cancellations can be made via My Cunard until 3 days prior to departure free of charge. If you are within 3 days of sailing you will need to speak to the Royal Spa once on board. Queen Mary 2 - Should you wish to cancel or amend a booking prior to your cruise, you can do so by calling Canyon Ranch Spa direct, reversing the charges, to make an appointment on toll free for U.
All other nationalities can call charges apply , 6am-5pm seven days a week, Pacific Standard Time PST and Mountain Time the rest of the year or email spaclubatsea canyonranch. Spa treatments and services can also be amended or cancelled on board, however for cancellations made at this late stage, a penalty charge may be applied.
Queen Mary 2 - SpaClub cancellations must be received at least 6 hours before scheduled Spa appointments, 3 hours before scheduled Salon appointments or the full service fee is charged. At this time, you are unable to book spa treatments and services online via My Cunard. However, you can pre book via Canyon Ranch. Reservations can normally be made up to 60 days in advance of sailing, however within 7 days of sailing any reservations must be made on board. Email spaclubatsea canyonranch. For more information about Canyon Ranch, please view their website on www.
Duty Free Liquor products sold via the shops will only be available to take home. You may order via the shops detailed below at any time throughout the cruise and orders will be available for collection at the end of your cruise you will be given details where and when you can collect your orders. The shops are shut when the ship is in port. You can also purchase duty free tobacco from the shops at any time during your voyage and can take the tobacco products away immediately for consumption on board or take ashore purposes.
If you wish to purchase a bottle of liquor for in stateroom consumption you can continue to do so via Room Service.
Intra EU Voyages Voyages visiting only Countries within the European Union On intra EU voyages we are unable to sell any duty free liquor or tobacco for on board consumption or to take ashore via the shops.
On all three Cunard vessels, the shop offers a price guarantee on liquor and tobacco purchases. We guarantee the shop will be cheaper than any comparable outlets - including any shops ashore during the voyage.
You will need to be able to provide proof of the cheaper price from recognised retailers. Online price comparisons are not included. If you have already purchased on board the shop will refund you the difference back onto your on board account. If you have not yet purchased and have proof of the cheaper price ashore the shop will price match for you. We stock a number of Nikon cameras, full range and costs can be obtained from the photography desk on board.
A wide range of swim wear is available in the on board shops as well as items such as sunglasses, hats, bags, snorkels and masks not flippers. UK daily newspapers are not available on board however we do offer 'ships' newspaper which is compiled from a selection of news stories from around the world and UK.
The newspaper is available in a number of languages including, French, German, Spanish and Japanese. It is available from reception or can be delivered to your stateroom upon request. UK daily newspapers are not available on board however, we do offer 'ships' newspaper; Britain Today and Daily Mail which is compiled from a selection of news stories from around the world and UK.
It is available from the Purser's office or it can be delivered to your stateroom upon request. We stock a wide range of sun lotions on board. The complete list is below:. If you have purchased an item from a shop in the Caribbean Islands whilst on a Cunard voyage and it has proved to have been faulty, please contact the PPI Group who may be able to assist.
If your child has a birthday whilst on board, please inform the Youth Manager who can be found at The Zone so they can help celebrate your child's special day. If a cake is required, the first point of contact should be to the Youth Manager who will be able to advise how this can be ordered. A limited supply of nappies are available from the shops on board, however we would recommend that you bring your own supply or purchase them ashore locally as we cannot guarantee stock.
Cunard cannot accept any child under the age of 6 months as a guest. Infants aged between 6 months and 2 years accommodated as a third or fourth guest in a stateroom travel free on board. A nominal fee may be charged for infants between the ages of 6 months and 2 years travelling where transfers, hotel stays and air Boat Excursions Jersey Warranty travel are involved, which we will discuss with you at the time of booking.
Guests aged 2 to 17 years of age travelling as a third or fourth guest in a stateroom pay the full fare less the relevant third or fourth person discount. Please note that children under the age of 16 are not permitted to travel in a stateroom without an accompanying passenger who is aged 16 or over. Please see " What is the minimum age a child can occupy a cabin to themselves? Children aged six months or 12 months as detailed above to 23 months are classed as infants.
Children aged two years to 17 years are classed as children. Those aged 18 years or over at time of travel are classed as adults. Unescorted children will not be permitted to enter the Theatre. Swimming pools - On some ships there will be designated pools for use by adults only. All children must be toilet trained before using any of the pools.
Swim nappies or pull up nappies are not accepted. This is due to health and safety reasons. All pools are unsupervised and children under 16 years are to be supervised by a parent or guardian at all times. Whirlpools - The whirlpools on board are not to be used by children aged 8 and under, and children aged must be supervised by a parent or guardian. Gym, Saunas and Steam Rooms - The minimum age for use of gym facilities including sauna and steam rooms, is 16 years of age with parental supervision or 18 years of age without supervision.
Those under the age of 18 years of age should not use the weights section at all. Nightclub - When in operation, children under the age of 16 are not allowed in the venues designated for the adult night club. Other - Children may be required to have adult supervision whilst using certain rooms, further information on this can be provided when on board. There may be time restrictions when children are no longer allowed in certain areas such as bars after midnight. These times and locations will be notified to you once on board.
G32 - No children are allowed entrance to this venue at all. Children under the age of 16 years old are not permitted to travel in a stateroom without an accompanying guest who is aged 16 or over.
Additionally, they must travel with a parent or companion aged 18 or over. If you are allocated to the Britannia restaurant, it would not be possible for you to dine in the Princess Grill or Queens Grill as these restaurants are reserved for those guests travelling in Princess Grill or Queens Grill suites.
It is also not possible for you to upgrade to dine in Princess Grill or Queens Grill restaurants, unless you upgrade your stateroom prior to sailing. If you wish to dine with other guests who are booked into a different stateroom category you would all need to be booked into the same stateroom category. You can request to dine with an Officer at the time of booking, however this is not guaranteed and depends on the fare type you are booked on.
Tables for two people in any of the main dining rooms or Grills dining rooms are on a request only basis. Tables in alternative dining venues are allocated on a first come, first served basis and we will always try to accommodate a table suitable for your requirements.
Bookings can be made through My Cunard at around three months prior to departure. Simply log on using your first name, surname, booking reference and date of birth.
Once you have logged in you should visit the Dining heading on the menu ribbon and click on Select Dining. We would recommend you make alternative dining arrangements for that evening to ensure you do not need to rush to dinner. Our alternative dining restaurants available on each ship offer a wide range of choice, alternatively you can dine in the buffet restaurant or your cabin.
If you would like more information or to book your regional flight, please call a member of our Customer Contact Centre. Please note that all flights are subject to availability. We can tailor your flights no matter what your plans are. We can fly you out early, home later or even to a different air city, so that you can explore independently then make you own way to the ship. Many guests choose to upgrade to premium, business or first class on their preferred airline.
Upgrades are available from 11 months prior to departure, subject to availability. For a tailored quotation please contact our Customer Contact Centre on local call charges apply where we will be happy to assist you.
Alternatively please contact your travel agent. In light of current restrictions, and the evolving situation we find ourselves in, we have currently paused sending pre-voyage booklets to all our guests globally. Rest assured, all information that can be found in the booklet can also be found on My Cunard , including shore experiences, e-tickets and luggage labels. We look forward to welcoming you on board soon. Details of visa requirements will be communicated to you via your My Cunard Voyage Personaliser approximately 3 months prior to travel and also via your pre-voyage information booklet.
Guests without UK passports will need to check with their national embassy regarding visa requirements for the ports you are visiting. The confirmation is usually received a few minutes after the request is processed however, some requests may take longer to be approved. The request and approval are linked to your passport. You will need to travel with the passport you used to apply for your eTA. If you are travelling to the US on board one of our ships and you are not staying ashore, you are classed as 'in transit' and can select this during the application process.
Alternatively you can select 'Unknown' and put the name of the ship as the 'Contact'. If you are staying in a hotel in the US either pre or post cruise - you should enter the hotel details. Yes, it is a condition of the contract that you obtain travel insurance to cover the risk of requiring medical care on board or in a foreign country. Your insurance must include cover for all pre-existing medical conditions and must cover emergency evacuations from the ship, shore hospital medical costs and repatriation costs.
An ESTA authorization is generally valid for two years. This means that as long as you have received an ESTA authorization to travel, you do not have to re-apply for two years. You may update your travel information; however this information is optional and is not required.
You must, however, ensure you take a printed copy of the document with you each time you travel as it contains your ESTA number, which may be needed for reference purposes. A passport is required for all of our voyage itineraries. This is a requirement of the countries that you will visit on your holiday. You will not be able to embark the ship without a passport.
Some countries will also require you to hold a visa to enter their country. Some countries will require you to obtain a visa in advance of your cruise and others may issue a visa upon arrival. The requirements changed on 1st April therefore you cannot enter the US without an electronic passport. If your passport was issued after October , it should have an electronic chip.
Even if your ESTA was previously valid, it will now be invalid from the 1st April following this change if you do not hold an electronic passport. Once your ESTA is authorised this is valid for 2 years. Alternatively you can contact our visa supplier, CIBT on telephone on If you are a non-British citizen passport holder, be sure to check entry requirements for the United States with the United States Embassy.
For British Subject passport holders, you must obtain a full US visa. Please ensure the information on your ESTA confirmation matches your passport information. No, once approved, an eTA is valid for multiple entries for up to five years or until the passport expires, for guests arriving by air only.
If you have any other queries, please contact ESTAsupport dhs. If you are applying for a late visa or are having problems with your application, please contact the US Embassy as below:. Zika virus is transmitted by mosquitoes, and symptoms include fever, headache, red eyes, rash, and joint pains. The illness is usually mild and lasts between days. However, the alert specifically references women who are pregnant or who are trying to become pregnant.
Guests are reminded to take general precautions against biting insects by covering exposed skin, and using insect repellent. If you fall ill prior to embarkation or on the day of embarkation and feel that you will be unable to join your cruise, please call our Customer Contact Centre please visit our website for contact details or your travel agent if you have booked via one.
You may be able to transfer your cruise to a later date, however please note that there are some stipulations that must be adhered in order to do so. If you are joining the ship in Southampton please notify the cruise terminal on the appropriate number:. If you are unable to travel, your booking will be subject to cancellation charges. Please ensure you have adequate travel insurance which may help cover the cost of such charges. Each ship has a Medical Centre on board, supported by fully qualified doctors and nurses who can assist with general medical issues.
Should you become ill whilst on board your cruise, please note that medical and repatriation expenses in countries such as the United States can be substantial and this is why we strongly recommend all Guests to have valid insurance to cover them for such costs. If you happen to be taken ill whilst cruising with us and your condition was to worsen you may be landed to the nearest shoreside hospital for specialist treatment. You would be placed into the care of our port agents and a member of our team ashore would stay in contact with you and provide support if required.
Please note, however, that all medical services on board are charged for as they are treated as private healthcare, charges will be applied to your on board account. It is stated in our booking terms and conditions that you must have adequate travel insurance to cover you for any medical costs you may incur.
Opening hours of the Medical Centre are displayed on board, as is the location. Should you require medical assistance outside of the opening hours these times will also be displayed along with an emergency contact number.
Norovirus is a virus that in most cases causes nausea or vomiting and diarrhoea. It can also cause abdominal pain, loss of taste, general lethargy, weakness, muscle aches, headaches or low-grade fevers. Outbreaks of Norovirus generally occur in closed or semi-closed areas such as hospitals, schools, prisons and cruise ships, etc.
It is transferred from person to person by physical transmission, often due to an infected person not washing their hands properly and then touching items such as food utensils, door handles, etc, which are then touched by someone else. When a person becomes infected, the virus begins to multiply within the small intestine. After approximately 1 - 2 days, Norovirus symptoms can appear. These symptoms develop between 24 - 48 hours after exposure and last for around 24 - 60 hours.
When people on board are diagnosed with Norovirus, they are confined to their stateroom so that they can recover and the risk of infecting other guests or crew is reduced. Rigorous cleaning procedures are carried out during and after outbreaks of Norovirus. We will monitor the situation regarding any affected outbound flights and will contact you or your travel agent if you have booked via one with advise on what you should do, or with alternative arrangements. If you are booked on a net rate via a travel agent, your flights will be dealt with by your travel agent and you should contact them directly.
If you are travelling to Southampton, then you should check your route and ensure you have plenty of time to arrive at the terminal for embarkation. If you are expecting to arrive at a Southampton terminal late, please contact 65 64 29 or 65 64 If you are on a fly voyage please contact our Customer Contact Centre on local charges apply and arrange for this to be amended so a new one can be printed.
The law was designed to protect the United States domestic transportation industries as applicable to both merchant and passenger vessels. The PSA grants U. Cunard vessels are foreign-flagged, and therefore must adhere to the guests Services Act and are not permitted to transport guests between U.
For full information on which ports of call this applies to, please call our Customer Contact Centre on local call charges apply. Yes, though the card holder must be present at check-in. The alternative to this is to purchase on board spending money prior to sailing. To schedule your shipment, please visit luggageforward.
Alcohol allowances - You can bring in either, but not both, of the following:. You also cannot group individual allowances together to bring in an item worth more than the limit. If you are transporting more than 10, Euros in cash the term cash includes cheques , outside of the EU, then you must declare this. This information is supplied by HM Revenue and Customs and is subject to change. Please check directly with them prior to travelling regarding the limits you are allowed to bring back into the country.
You can go direct to the relevant page of the HM Revenue and Customs website. The telephone number for Cruise Connect is from am to pm, Monday to Friday and am to 4. Their website address is www.
For the world voyages on Queen Mary 2 and Queen Victoria it may be possible to leave your luggage on board if you are disembarking during the world voyage for collection in Southampton.
The limit is one item per person, with a maximum of two items per stateroom. Please speak to reception once you are on board to enquire about availability. If this service is available you will be sent details whilst on board detailing what you need to do, and when and where your luggage can be collected from when it returns to Southampton.
It is also possible to have your luggage collected from your home and delivered to the ship, or collected from the ship and delivered to your home if you are travelling on part of a world voyage. It's also a wonderful option for those who choose to extend their travels pre or post voyage. Luggage Forward representatives are available by phone 24 hours a day to assist you.
In some instances, complimentary coach transfers may be available. This will be notified to you at time of booking. If this is the case then you must ensure that you have made your coach transfer booking with Coach Connect at least 35 days prior to departure. Cruise Connect have 50 collection and drop-off points throughout the UK which can be found on their website. All coaches are equipped with reclining seats, are non-smoking and normally have a WC and washroom.
In addition, comfort stop s are made en route. Coaches also have wheelchair access via a lift or ramp. Please note that Cruise Connect may require your wheelchair to be dismantled and stored in the luggage compartment depending on your wheelchair type. Please contact Cruise Connect to book and for further information.
We recommend that you visit the HM Revenue and Customs website prior to travelling regarding the limits you are allowed to bring back into the country. You can go directly to the relevant page of the HM Revenue and Customs website. All ports are different and some ports require a face to face Immigration Inspection. These will either be conducted on board the ship or ashore, details of this will be provided once you are on board and are subject to operational requirements.
When transferring between two ships on the same day, there will be a transfer for both guests and their luggage. The transfers will be organised by the ships and you will be notified on board if this transfer is possible and all further details regarding this. All guests must disembark regardless of Nationality and whether they are in-transit or not, to pass through the Immigration and Customs Inspection with CBP Customs and Border Protection.
CBP relates to US cruises only. Yes, you will need to register your credit or debit card to the desired stateroom at check-in. You will be charged for all on board accounts applicable to these staterooms at the end of the voyage.
Priority embarkation is available to our Platinum and Diamond World Club members for voyages departing from New York or Southampton where operationally possible. Priority disembarkation is also available to those in Queens Grill and Princess Grill suites. Your voyage e-tickets will only become available from 35 days before your sail date and once a cabin has been allocated for you.
If your cabin numbers have been allocated on both of your booking references you will be able to log on to My Cunard Voyage Personaliser and print your E-Tickets. If you have paid for an upgrade, you can request another pre cruise booklet if eligible to receive a booklet to be sent, which will contain the luggage labels with the new cabin number.
If you have received a complimentary upgrade, you will not be able to request new luggage labels; however, you will be able to print new labels from My Cunard. All luggage must display another form of identification in case of any damaged or missing labels.
Any luggage not labelled will not be placed on the conveyor belt. Your embarkation and disembarkation port address can be found on your E-ticket via My Cunard under the Travel Documents section. For guests booking a cruise on the Cunard Fare promotion, where available, complimentary car parking or coach transfers are one of the benefits available to choose from at time of booking.
Please let us know at the time of booking if you wish to use this service and then you will need to contact the Cruise and Passenger Services CPS on or online no later than 35 days prior to departure.
Airport parking is available for return fly-cruises of seven nights or more with the exception of Exotic Cruises and Full World Voyages. Airport parking is off site parking at the relevant airport one space per booking for the duration of your holiday, with transfers between the car park and the airport terminal.
Amendments to car details can be made up to 48 hours prior to departure day at no additional cost. In most cases airport transfers operate every 10 to 15 minutes, however some will operate on a demand basis.
Guests must check with APH and arrive with plenty of time to park their car before checking in for their flight. If you wish to cancel your booking you can do so up to 48 hours before departure, but please ensure you notify both Cunard Line and APH.
Coach transfers are available to all guests on the booking. Please let us know at the time of booking if you wish to use this service and then contact Intercruises on calls cost 3. Transatlantic fly cruises differ from above. Please speak with our Customer Contact Centre on local charges apply , or your local Travel Agent. Pre-printed luggage labels will be included in your pre-voyage mailing booklet which will be sent to U.
K passengers approximately 10 weeks prior to departure as long you have not opted to create your own e-brochure. If you have elected to create your personalised e-brochure these can be downloaded from the Travel Documents section on My Cunard approximately 40 days prior to sailing. Luggage labels will only be available once your cabin number has been allocated, once your cabin has been allocated an email will be sent to all passengers on the booking with an email address to advise luggage labels are available to print.
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