Diseño del Evento

Tanto sea un evento privado, empresarial, benéfico y que pengan éxito, todos tienen una planificación compleja y con necesidad de recursos muy profesionales.

En todo este diseño se debe reflejar la sensibilidad y los intereses del cliente. CENTRAL EVENTOS está absolutamente preparada para guiarle en la realización plena de comunicar su mensaje: un gabinete de comunicacón y de planificacón le asitirán en todo momento..

Desarrollo del tema del Evento

Estamos preparados en CE con un equipo de creativos para idear un acontecimiento que impulse a su empresa hacia adelante.

En cada paso del proceso de planificación, los creadores de CE trabajarán en estrecho contacto con Ud: cuidaremos su dinero, encontraremos soluciones mas sostenibles sin ninguna merma en la calidad del evento.

Logística del Evento

Tanto si es su primer evento o su numero veinte, siempre hay un motivo que nos guia: inspiración, creatividad, dinamismo para mantener la atención de los asistentes a su evento. Trabajar de manera EFICAZ en todo momento.

Con CE a cargo de la logística de su evento nos comprometemos a que TODO salga como está previsto. Realizaremos constantes chequeos con Ud. hasta el momento de recibir al primer invitado.

Producción y Realización de Producción

Ud. cuenta en CE con un equipo jóven y dinámico que trabaja coordinadamente hacia la consecución de los objetivvos que no0s hemos propuesto. Cada momento está avalado por especialistas: sonido, iluminación, entretenimiento, servicios, recepción, catering...

Tenemos el equipo mejor cohesionado que hay en el mercado para hacer un evento exitoso, nuevo, preciso.

Catering y Barras de Bebidas

En CE nos enorgullecemos en poder ofrecerle caterings de todo tipo: cofffee-break, lunch, cmodias multitudinarias, barra de bebidas, cocktails...

Nos adaptamos a un presupuesot mínimo y también lo hacemos si Ud. imagina un evento con exquisiteces.

Nuestros profesionales comparten con todo nuestro equipo la filosofia de calidad, estilo y excelente prsentación.

Música y Entretenimiento

CE nos caracterizamos por un alto nivel que tenemos en entretener. No podemos olvidar que CE es una star-up de La Central del Espectáculo: 15 años entreteniendo en eventos. Desde monolguistas hasta espectaculos del Weat londinense. Lo tenemos todo.

Gestión de Eventos | Marketing Directo | Fiestas Corporativas | Producción y Gestión | Creatividad y Estrategia | Eventos | Barcelona Gaudi | Soluciones Alternativas

Amidst a cluster of relatively small and midsized buildings of varying types and uses, the New Museum rises 174 feet above street level. As visitors approach the Bowery or from the west along Prince Street, they encounter the building as a dramatic stack of seven rectangular boxes. This distinctive form derives directly from the architects’ defining solution to fundamental challenges of the site: A dense and ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres, had to be accommodated within a tight zoning envelope on a footprint of seventy-one feet wide and 112 feet deep. 

In order to address these conditions without creating a monolithic, dark, and airless building, SANAA assigned key programmatic elements to a series of levels (the seven boxes), stacked those boxes according to the anticipated needs and circulation patterns of building users, then drew the different levels away from the vertebrae of the building core laterally to the north, south, east, or west. The shifted-box approach yields a variety of open, fluid internal spaces that are different heights at every level, with different characteristics but all column-free.

The New Museum is clad in a seamless, anodized expanded aluminum mesh chosen by SANAA to emphasize the volumes of the boxes while dressing the whole of the building with a delicate, filmy, softly shimmering skin. With windows just visible behind this porous scrim-like surface, the building appears as a single, coherent, and even heroic form that is nevertheless mutable, dynamic, and animated by the changing light of day—an appropriate visual metaphor for the openness of the New Museum and the ever-changing nature of contemporary art.

“It was complicated to organize the architecture around all of the desires,” Sejima and Nishizawa have said. “We knew we could not maximize the entire site with solid architecture, we had to reduce the building’s mass somehow to create space between it and the perimeter. The solution of the shifted boxes arrived quickly and intuitively. Then through trial and error we arrived at the final, ideal configuration. Now we have a building that meets the city, allows natural light inside, gives the Museum flexible column-free galleries, and expresses the program and people inside to the world of New York outside.”

FROM THE STREET TO THE ART

Visitors will be drawn into the New Museum by views through a nearly fifteen-foot-tall plane of clear plate glass along the Bowery, stretching across the full width of the building, named for the Eisenberg and Feinstein families, to include both the public entrance and the entrance to the Museum’s loading area, on the north side of the core, where back-of-house activities and the movement of artworks will be on full view to passersby. Through this clear membrane, visitors will see all of the various functions of the lobby level, a transitional space between the life of the street and that of the Museum. The color and buzz of the Bowery neighborhood give way here to a luminous, pale space.

“We wanted to make interiors that expose the way they work in an elegantly rough way that is appropriate to the Museum and right for the budget and the place,” Sejima and Nishizawa have stated.  “We don’t want to hide things behind gyp board, we want to show what the building is made of and maximize the feeling of openness, but do it in a beautiful way inside the parameters of the toughness. This is why the building’s structure and guts are exposed— the ducts, the sprinklers, the fireproofing material—and the view from the street includes everything on the ground floor.”

Gray concrete pavement outside gives way to polished gray concrete floors in the grand but intimate Marcia Tucker Hall. This space contains the Visitor Services desk; ticketing; coat check; the New Museum Store defined by a serpentine screen of metal mesh; the New Food café and its open kitchen; a stairway down to the building’s lower level and Theater; elevator banks for access to the galleries above; and the luminous, 1,100-square-foot Joan and Charles Lazarus Gallery separated from the rest of the space by a soaring glass wall and illuminated by daylight filtering down from the shift of the structural box above. A floating dropped screen of metal mesh softens and abstracts the largely visible functions of the ceiling above it, filtering light from a grid of glowing, thin florescent tubes. 

From the lobby level, visitors may choose a variety of paths upward or downward through the building.

Descending by either the open, glass enclosed interior stairway or an elevator to the building’s lower level, visitors will find the 182-seat Peter Jay Sharp Theater—a  white box theater with a pre-function hall that doubles as a gallery for special projects. This level also houses the Museum’s restrooms (where Bisazza mosaic covers the walls with hotly hued, pixilated hanami cherry blossom patterns—the only intensely colored feature in the building aside from the vibrant green elevator cab interiors); backstage support, storage, and green room areas for the theater; general storage; and mechanical support.

Electrical and mechanical areas, storage for the café kitchen and the Store, and a workshop are housed on the mezzanine of the lower level.

Visitors who choose to ascend from the lobby level to the galleries above can take an elevator or use one of the staircases situated in the building’s core. SANAA has designed a fluid, three-level zone of extraordinary galleries on the building’s second, third, and fourth floors —all freed from columns by the structural support of the core, all characterized by unique atmospheres ranging from intimate to grand. 

“A museum for contemporary art should be neutral in the character of its gallery spaces, in order to create the widest palette for the art itself,“ SANAA has stated. “With the galleries in this building, we tried to play with dimensions and the way daylight falls in the spaces. This allows the visitor to experience art in slightly different conditions on different visits, at different times of the day, in different spaces, without impeding the qualities of the art.”

The second floor Eugenio Lopez Galleries provides approximately 5,000 square feet of exhibition space with ceilings eighteen feet high, skylights tracing the west and north walls of the building, and concrete floors that appear to float via a carefully crafted reveal that runs the full perimeter of the space where the floor meets the walls. The shifting of the structural box at this level has created an additional quiet and unique gallery space on the north side of the core—a volume ten feet wide and forty feet long, accessed from either end of the main gallery. 

The third floor Maja Hoffmann/Luma Foundation Galleries, with approximately 4,000 square feet of exhibition space, boasts a ceiling height of nineteen feet with east and west skylights. On this floor, visitors find the entrance to an exquisite open stairway running fifty feet upward along the building’s north side connecting the third and fourth floors.

A second landing along this flight of stairs offers views through an enormous, punched single-pane window bringing in sweeping natural light. Visitors arrive at the top of these stairs in front of a large window offering vistas westward across SoHo and toward the Hudson—vistas that provide a momentary break in the immersive experience of viewing art and reconnect that experience to the context of the city and the community beyond the Museum’s walls.

On this level, around a fast corner, is the fourth floor Dakis and Lietta Joannou Galleries.  At nearly 3,000 square feet it has the smallest floor space of the Museum’s main galleries but also the tallest and most dramatic. Ceilings here are twenty-four feet in height in a space graced by a southern skylight that permits natural light of varied qualities to wash through the galleries during the course of days and seasons and be controlled, as in all of the building’s galleries, through a system of shades beneath the glass.   

In the galleries, the steel of the architecture is exposed. The diagonal structural beams of the exterior, rendered white with their spray-on fireproofing material, intumescent paint, appear at interludes. “We want the building to show what it is,” SANAA has stated. “This openness is consistent with the openness of the New Museum and the honesty of the everyday businesses along the Bowery.” The structural steel makes frequent appearances throughout the building.

The fifth floor houses the institution’s new Pauline and Constantine Karpidas Education Center, with a wide expansive west wall of glass looking over Nolita and SoHo with classroom space, a video editing room; a Resource Center with computer stations and the Bowery Artist Tribute; and a space for the institution’s revolutionary Museum As Hub global intra-institutional initiative. On the sixth floor are staff offices, kitchen, restrooms, and meeting spaces. Here, windows wrap around the space on three sides, and polycarbonate sliding panels provide privacy. 

On the seventh floor of the building, the New Museum will offer one of the most arresting multipurpose spaces in downtown Manhattan: The Toby Devan Lewis Sky Room. On this level, an eleven-foot-high, nearly 2,000 square foot space for events and special programs features floor-to-ceiling glass, offering panoramic vistas of the city and an outdoor terrace that runs without interruption around the east and south sides of the building.

The eighth floor of the New Museum building houses mechanical support.

Reflecting upon the completed building, five years from initial conception to completion, SANAA comments: “The new building is both part of SANAA and the New Museum. In the time that we have been together, both have changed very much. In some ways we are both bigger, more relaxed, but still always hoping to explore and find new things. The New Museum is intriguing because it is always asking questions and we hope that it continues to do so. Our building is an attempt to express the New Museum’s adventurousness and freedom.”

Design Event

Both event is a private business, charity and that Peng success, all have complex planning and resource needs very professional.

Throughout this design should reflect the sensitivity and the client's interests. CENTRAL event is absolutely prepared to guide you in the full realization of communicating its message: a cabinet comunicacón and planificacón Asit him at all times ..

Developing the theme of the event

We are prepared in EC with a creative team to devise an event that drives his company forward.

At each step of the planning process, the creators of EC will work closely with you: Take care of your money, find more sustainable solutions without any diminution in the quality of the event.

Logistics Event

Whether this is his first event or his number twenty, there's always a reason that guides us: inspiration, creativity, dynamism to keep the attention of those attending your event. Work effectively at all times.

With EC in charge of the logistics of your event we commit ourselves to win as scheduled. We constantly check with you. so far received the first invitation.

Production and Performing Production

You. EC account with a young and dynamic team working towards a coordinated objetivvos the no0s that we have proposed. Every moment is backed by specialists: sound, lighting, entertainment, service, reception, catering ...

We have the best cohesive team that exists in the market to make a successful event, new, precise.

Catering and Bars Drinks

In EC we pride ourselves on catering to offer all kinds: cofffee-break, lunch, cmodias multitudinarian, bar drinks, cocktails ...

We adapt to a minimum presupuesot and so if you do. imagines an event with delicacies.

Our professionals share with our team the whole philosophy of quality, style and excellent prsentación.

Music and Entertainment

EC us characterised by high levels that we entertain. We can not forget that EC is a star-up of the Central Entertainment: 15 years in entertaining events. Since monolguistas up shows in the Weat London. What we have everything.

 

Amidst a cluster of relatively small and midsized buildings of varying types and uses, the New Museum rises 174 feet above street level. As visitors approach the Bowery or from the west along Prince Street, they encounter the building as a dramatic stack of seven rectangular boxes. This distinctive form derives directly from the architects’ defining solution to fundamental challenges of the site: A dense and ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres, had to be accommodated within a tight zoning envelope on a footprint of seventy-one feet wide and 112 feet deep. 

In order to address these conditions without creating a monolithic, dark, and airless building, SANAA assigned key programmatic elements to a series of levels (the seven boxes), stacked those boxes according to the anticipated needs and circulation patterns of building users, then drew the different levels away from the vertebrae of the building core laterally to the north, south, east, or west. The shifted-box approach yields a variety of open, fluid internal spaces that are different heights at every level, with different characteristics but all column-free.

The New Museum is clad in a seamless, anodized expanded aluminum mesh chosen by SANAA to emphasize the volumes of the boxes while dressing the whole of the building with a delicate, filmy, softly shimmering skin. With windows just visible behind this porous scrim-like surface, the building appears as a single, coherent, and even heroic form that is nevertheless mutable, dynamic, and animated by the changing light of day—an appropriate visual metaphor for the openness of the New Museum and the ever-changing nature of contemporary art.

“It was complicated to organize the architecture around all of the desires,” Sejima and Nishizawa have said. “We knew we could not maximize the entire site with solid architecture, we had to reduce the building’s mass somehow to create space between it and the perimeter. The solution of the shifted boxes arrived quickly and intuitively. Then through trial and error we arrived at the final, ideal configuration. Now we have a building that meets the city, allows natural light inside, gives the Museum flexible column-free galleries, and expresses the program and people inside to the world of New York outside.”

FROM THE STREET TO THE ART

Visitors will be drawn into the New Museum by views through a nearly fifteen-foot-tall plane of clear plate glass along the Bowery, stretching across the full width of the building, named for the Eisenberg and Feinstein families, to include both the public entrance and the entrance to the Museum’s loading area, on the north side of the core, where back-of-house activities and the movement of artworks will be on full view to passersby. Through this clear membrane, visitors will see all of the various functions of the lobby level, a transitional space between the life of the street and that of the Museum. The color and buzz of the Bowery neighborhood give way here to a luminous, pale space.

“We wanted to make interiors that expose the way they work in an elegantly rough way that is appropriate to the Museum and right for the budget and the place,” Sejima and Nishizawa have stated.  “We don’t want to hide things behind gyp board, we want to show what the building is made of and maximize the feeling of openness, but do it in a beautiful way inside the parameters of the toughness. This is why the building’s structure and guts are exposed— the ducts, the sprinklers, the fireproofing material—and the view from the street includes everything on the ground floor.”

Gray concrete pavement outside gives way to polished gray concrete floors in the grand but intimate Marcia Tucker Hall. This space contains the Visitor Services desk; ticketing; coat check; the New Museum Store defined by a serpentine screen of metal mesh; the New Food café and its open kitchen; a stairway down to the building’s lower level and Theater; elevator banks for access to the galleries above; and the luminous, 1,100-square-foot Joan and Charles Lazarus Gallery separated from the rest of the space by a soaring glass wall and illuminated by daylight filtering down from the shift of the structural box above. A floating dropped screen of metal mesh softens and abstracts the largely visible functions of the ceiling above it, filtering light from a grid of glowing, thin florescent tubes. 

From the lobby level, visitors may choose a variety of paths upward or downward through the building.

Descending by either the open, glass enclosed interior stairway or an elevator to the building’s lower level, visitors will find the 182-seat Peter Jay Sharp Theater—a  white box theater with a pre-function hall that doubles as a gallery for special projects. This level also houses the Museum’s restrooms (where Bisazza mosaic covers the walls with hotly hued, pixilated hanami cherry blossom patterns—the only intensely colored feature in the building aside from the vibrant green elevator cab interiors); backstage support, storage, and green room areas for the theater; general storage; and mechanical support.

Electrical and mechanical areas, storage for the café kitchen and the Store, and a workshop are housed on the mezzanine of the lower level.

Visitors who choose to ascend from the lobby level to the galleries above can take an elevator or use one of the staircases situated in the building’s core. SANAA has designed a fluid, three-level zone of extraordinary galleries on the building’s second, third, and fourth floors —all freed from columns by the structural support of the core, all characterized by unique atmospheres ranging from intimate to grand. 

“A museum for contemporary art should be neutral in the character of its gallery spaces, in order to create the widest palette for the art itself,“ SANAA has stated. “With the galleries in this building, we tried to play with dimensions and the way daylight falls in the spaces. This allows the visitor to experience art in slightly different conditions on different visits, at different times of the day, in different spaces, without impeding the qualities of the art.”

The second floor Eugenio Lopez Galleries provides approximately 5,000 square feet of exhibition space with ceilings eighteen feet high, skylights tracing the west and north walls of the building, and concrete floors that appear to float via a carefully crafted reveal that runs the full perimeter of the space where the floor meets the walls. The shifting of the structural box at this level has created an additional quiet and unique gallery space on the north side of the core—a volume ten feet wide and forty feet long, accessed from either end of the main gallery. 

The third floor Maja Hoffmann/Luma Foundation Galleries, with approximately 4,000 square feet of exhibition space, boasts a ceiling height of nineteen feet with east and west skylights. On this floor, visitors find the entrance to an exquisite open stairway running fifty feet upward along the building’s north side connecting the third and fourth floors.

A second landing along this flight of stairs offers views through an enormous, punched single-pane window bringing in sweeping natural light. Visitors arrive at the top of these stairs in front of a large window offering vistas westward across SoHo and toward the Hudson—vistas that provide a momentary break in the immersive experience of viewing art and reconnect that experience to the context of the city and the community beyond the Museum’s walls.

On this level, around a fast corner, is the fourth floor Dakis and Lietta Joannou Galleries.  At nearly 3,000 square feet it has the smallest floor space of the Museum’s main galleries but also the tallest and most dramatic. Ceilings here are twenty-four feet in height in a space graced by a southern skylight that permits natural light of varied qualities to wash through the galleries during the course of days and seasons and be controlled, as in all of the building’s galleries, through a system of shades beneath the glass.   

In the galleries, the steel of the architecture is exposed. The diagonal structural beams of the exterior, rendered white with their spray-on fireproofing material, intumescent paint, appear at interludes. “We want the building to show what it is,” SANAA has stated. “This openness is consistent with the openness of the New Museum and the honesty of the everyday businesses along the Bowery.” The structural steel makes frequent appearances throughout the building.

The fifth floor houses the institution’s new Pauline and Constantine Karpidas Education Center, with a wide expansive west wall of glass looking over Nolita and SoHo with classroom space, a video editing room; a Resource Center with computer stations and the Bowery Artist Tribute; and a space for the institution’s revolutionary Museum As Hub global intra-institutional initiative. On the sixth floor are staff offices, kitchen, restrooms, and meeting spaces. Here, windows wrap around the space on three sides, and polycarbonate sliding panels provide privacy. 

On the seventh floor of the building, the New Museum will offer one of the most arresting multipurpose spaces in downtown Manhattan: The Toby Devan Lewis Sky Room. On this level, an eleven-foot-high, nearly 2,000 square foot space for events and special programs features floor-to-ceiling glass, offering panoramic vistas of the city and an outdoor terrace that runs without interruption around the east and south sides of the building.

The eighth floor of the New Museum building houses mechanical support.

Reflecting upon the completed building, five years from initial conception to completion, SANAA comments: “The new building is both part of SANAA and the New Museum. In the time that we have been together, both have changed very much. In some ways we are both bigger, more relaxed, but still always hoping to explore and find new things. The New Museum is intriguing because it is always asking questions and we hope that it continues to do so. Our building is an attempt to express the New Museum’s adventurousness and freedom.”