ARCHHTC235

Athfield Architects with Gehry Associates & Rewi Thompson Ø Museum of NZ Competition Entry, Wellington, New Zealand, 1990.

1. 'Feather' gives the quality of light. 2. Feather represents Maori Culture. 3. Explore relationship with Building and harbour. 4. Steel and Glass. 5. Did not win 6. Relates to Euro Disney and Guggenheim Museum.

Frank Gehry (b. 1929 in Toronto; based in Los Angeles) Ø Remodelling of Gehry House (i.e. own house), Santa Monica, Los Angeles, California, USA, 1978-1979 and 1988.

1. Added walls and bits to clamp on, walls were stripped down and put up. 2. Partially demolished walls exposing frames, joists and studs. Explosive sticks of timber. 3. Used crude materials to further emphasise this fragmented aesthetic - iron, chain link, corrugated steel. 4. Finished but not refined - deliberately crudely made. 5. "a structure in process is always more poetic than a finished work." 6. Entrance barely discernible amidst jutting angles of exterior, the old house peels from this mix of materials giving idea of being under constant construction. 7. Fragmentation, deconstructivist. 8. Wraps outside of house with new exterior while still leaving old exterior visible.

Nunotani Corporation Building, Edogawa-ku, Japan, 1990-1992

1. An architecture of fragmentation 2. Expression of tectonic instability, captures the drama of instability: the seismic condition one faces while living there - In order to play with tectonics, Eisenman has to speed up time in a sense - to exaggerate that which must happen slowly, in order to maintain adequate stability 3. Twisting of grids by 5 degrees. 4. Interior manipulated also. 5. Steel and glass. 6. Unstable effect is artificial, structure is safe. 7. Shifts and tilts angles of the planar elements (walls) actually run through the walls. 8. Inappropriate design context. 9. follows a modernist vernacular. 10. Thin curtain walls are shown drifting below floorplates. 11. Glazing drifts below the ground plane. 12. Project for the Nunotani Corporation in Japan - office building/headquarters

Bernard Tschumi (b. 1944, Switzerland; based in New York) Ø Parc de la Villette, la Villette, Paris, France, 1984-1989.

1. Attacks the idea of form follows function. 2. Part of international competition o revitalise the abandoned land and slaughterhouse in Paris. 3. Wanted park to be a space for activity and interaction that evoked sense of freedom. 4. 135 acres organised spatially through a grid 35 points. 5. Red symbolises 'avatoire, blood' suggests madness. 6. Whole series of different gardens. 7. Although each folly is unique to one another they are repetitive in nature. 8. Each of red follies are placed on the grid of reference. 9. Follies have no function; only there to reinforce the idea of exploration and discovery.

Stirling & Wilford (James Stirling: b.1926, Glasgow; d.1992, London) Ø Neue Staatsgalerie, Stuttgart, Germany, 1984

1. Became an urban space available to the public all the time - unique idea at the time but very common now 2. For cultural influence 3. Won a competition which wanted to make a connection to the older Staatsgalerie (including the dramatic slope) 4. Idea was to combine the different elements of 19th century classical museums and modern materials 5. Uses travertine and sandstone (classical materials) and stainless steel with is brightly coloured (modern) 6. The dramatic sloping of the building allowed for a good flow that the people could follow down the site and through the museum 7.Made so it was available to people all the time 8.Parking underneath 9. Little play had stones out of the wall and on the ground (suggests) 10. In the atrium there are columns, gables and architraves

Ø Daniel Libeskind (original design); Skidmore, Owings and Merrill (David Childs) (built design), One World Trade Centre (formerly known as Freedom Tower), New York City, New York, USA, 2002-2014 [height: 1,776 feet]

1. Complex political building - after 911. 2. 1776m - American independence day, a beacon 3. Memorialises and rebuilds the destruction of original World Trade Centre. 4. 16 Acre, Half devoted to public space (memorial and memorial museum). 5. Rock Like anchor(podium) withstands ground bombings, 56m 6. Mostly made from Post industrial recycled materials. 7. Glass walls designed with a lot less iron (structural support) to increase visibility, reducing electric illumination.

Ø Swiss Re (now known as 30 St Mary Axe; known colloquially as 'the Gherkin'), London, UK, 1999-2003.

1. Curved shape minimises wind. 2. 'W' shaped columns creating diagonal looking facades. 3. Very expensive as shape makes it structurally demanding. 4. Reinvents traditional tower/skyscraper concept; non service core instead outer form supports structural integrity. 5. Dome capping at top is Private. 6. Fully glazed glass. 7. Diagonal voids allow air flow to top. 8. Diagrid steel shells. 9. Commercial skyscraper

Ø Phaeno Science Center, Wolfsburg, Germany, 1999-2005

1. Demonstrates moves from planar to curvilinear - parametric. 2. Stands on concrete stilts, allowing visitors to the Autostadt to pass through. 3. Underside of Phaeno and stilts are illuminated. 4. Heavy volume, sharp edges, strong emphasis on horizontality. 5. Captures dynamics of landscape in elongated shape. 6. Reinforced concrete. 7. Crashed openings and walls that give illusion that building is in motion.

Zaha Hadid (b.1950, Baghdad; d.2016, Miami) Ø First Prize, The Peak Competition (for a private club), Hong Kong, 1982-1983.

1. Dissection of landscape and structure into geometric forms and suggestion of multipleperspectives at once. 2. Hadid reveals her influence of Russian Constructivism and Cubism, Suprematism. 3. Jagged edges mimic surrounding rock and ice 4. Suprematist geology, uses range of materials to slice landscape 5. Fracture geometry seen as deconstructivist. 6. Meets at odd angles, neither horizontal or vertical. 7. Rejects traditional principles of organisation.

Herzog & de Meuron Ø Prada Store, Aoyama, Tokyo, Japan, 2003

1. Epicenter store - almost cultural centers 2. Representing Prada as a brand 3. Building shaped by the planning envelope and is half the area of the site 4. All the structure is on the outside (exoskeleton) 5. No columns on the inside 6. Floor spans across the inside 7. Lots of double height spaces 8. Put a tube at the end of one floor which is an inside of a yacht 9. Each space points into a different direction 10. LED glass where the changing rooms are to change the transparency of the glass 11. The glass panels are laminated and cost a huge amount, there is only one place in spain that could do them curved 12. These huge diamond-shaped glass panes vary between flat, concave and convex "bubbles" 13. Situated in an area that contains low-rise buildings where it is unusual to find a square meter of land has been left unoccupied 14. five-sided shape 15. Because some of the glass is curved, it seems to move as you walk around it

Daniel Libeskind (b. 1946 in Lodz, Poland; grew up in NYC; lived in Berlin; based in NYC) Ø Jewish Museum, Berlin, Germany, 1989-1999.

1. Expresses the trauma of the Jews. 2. Zig Zag embodies the violence sprawled along that era. Lightning shape. 3. Changes direction of flow, turns based on trees. 4. Hidden within trees, does not overshadow the heroic, old baroque building, the 'Kollegeinhaus' 5. 3 axes, intersecting slanting corridors which symbolise the three paths of Jewish life in Germany - continuity, emigration, and subsequent holocaust. Continuity, Exile, Death. 6. Manipulation of orientation (emotive and physical). 7. Lines of voids slice through (20m). Represents "That which can never be exhibited when it comes to Jewish Berlin History: humanity reduced to ashes. 8. Libeskind wanted to express feelings of absence, emptiness and invisibility - expression of the disappearance of Jewish culture. 9. Concrete walls, cold and overwhelming. 10. Ground covered in 10k coarse iron faces, symbol of lost lives. 11. Voids of empty space with only sliver of light entering - parallels Jewish experience.

Herzog & de Meuron. Ø Signal Box auf dem Wolf, Basel, Switzerland, 1988-1995.

1. Facade wrapped with copper strips that bend, twist and warp at certain areas to allow light entry. 2. Copper facade acts as faraday cage that protects equipment. 3. Building is a solid volume but facade is offset to create extension from itself - transitional dynamic effect. 4. Facade pulled out similar to Aurora Place and Cartier Foundation. 5. Windows were limited as only a few worked there. 6. Relationship with adjacent railway tracks, bot metallic and copper coloured. 7. Contains control equipment and office spaces and a control tower to control train traffic. 8. 6 levels 9. railway utility building

Herzog & de Meuron Ø National Stadium (a.k.a. Bird's Nest), Beijing, China, 2007.

1. For Olympics in Beijing 2. Seemingly random, the pattern abides by complex rules for which advanced geometry was defined. 3. The skin is a part of the logic of the building, it provides a lot of structural support 4. The circular shape of the stadium represents 'heaven', while the adjacent square form of the National Aquatics Center (Water Cube), is a reflection of the Chinese symbol for Earth. 5. Popularly described as a 'bird's nest', with its pattern inspired by Chinese-style 'crazed pottery 6. To maintain the atmosphere and provide a superb stadium experience, the roof was clad with ethyl tetrofluoroethylene (ETFE) panels on the upper surface and an acoustic membrane on the lower surface

Herzog & de Meuron (Jacques Herzog & Pierre de Meuron both b. 1950, Basel, Switzerland; based in Basel) Ø Private Gallery for the Goetz Collection, Munich, Germany, 1989-1992.

1. Free standing volume. 2. Appears to be 3 floors but is actually 2. 3. Building sinks to ground offering ambiguity from exterior. 4. Explores with the translucent associated with glass. 5. One of the storey dwells underground, glass walls seem to hold up volume. 6. Depending on daylight and viewport, gallery can appear as closed, flush volume or as wooden box resting on two trowels in the garden. 7. Birch plywood, matt glass, untreated aluminium. 8. Matt glass strip on top floor admits diffused glare free light.

Norman Foster + Partners: Ø The Reichstag (New German Parliament) (adds & alts), Berlin, Germany, 1992-1999.

1. German parliament designed by British architect as powerful symbol in post war culture. 2. Original design was a steel and glass canopy over old building, however financial issues pushed them to reconsider. 3. The Dome (Cupola) makes reference to the old parliament 4. Cupola provides visual connection into debating chamber. 5. Built around Russian graffiti, damage and history as its part of Germany's past 6. Spiralling ramp around cupola. 7. Visual connection through skylights or mirrors on inverted cone alludes to notion of being above government. 8. Symbol of post war Germany where democracy pervades.

Ateliers Jean Nouvel , Ø Cartier Foundation for Contemporary Art, Paris, France, 1994.

1. Glass facade is reflective and extends beyond the building edge to conceal its volume. 2. Similar to Aurora Place. 3. Building disappears into a fog of transparency. 4. Structure both veil and illuminates. 5. Facade add to ambiguity between interior and exterior transition. 6. Trees from garden are walled from city street behind glass curtain wall that extends beyond from the building itself. Ambiguous.

Herzog & de Meuron Ø De Young Museum, San Francisco, California, USA, 1999-2005.

1. In a huge park with several other large museums 2. House historical and new art 3. Initial idea was for the building to replace an existing building that had free access so this idea was forced onto the new building in some areas 4. Large foyer spaces 5. Outside courtyard 6. Lift to viewing tower 7. Tower is twisted to get particular views over the ocean and the rest of san Francisco 8. Copper holes so the skin is almost transparent where the café area is 9. The old building was already hazardous but it was completely destroyed in 1989 by the Loma Prieta earthquake 10. A bold striking structure that is as much part of the exhibit as the art it contains 11. public sculpture garden, a terrace beneath a cantilevered roof, and a children's garden 12. There still are the original palm trees along with the Pool of Enchantment and sphinx structures that have been standing since the opening of the 19th century museum 13. The natural materials, such as copper, wood and stone, allows the design to become part of the land it occupies 14. Wood flooring and finishes create a warm atmosphere that lead visitors from room to room 15. chose a copper facade which would slowly become green due to oxidation and therefore fade into its natural surroundings. The facade is also textured to represent light filtering through a tree.

Ø Vitra Fire Station, Weil am Rhein, Germany, 1990-1994

1. In-situ concrete. 2. Represents Hadid's earliest attempt to translate conceptual drawings into functional space. 3. Narrow stretched structure. 4. Stressed visual purity of materials. 5. Highly sculptural, resembles early buildings. 6. The walls which appear as pure planar forms from the outside, are punctured, tilted or folded in order to meet internal requirements and other activities. 7. Series of linear concrete walls and roof elements with program fitted in between spaces.

Peter Zumthor (b. Basel, Switzerland, 1943; based in Haldenstein, Switzerland) Ø Brother Klaus Field Chapel, Mechernich, Germany, 2007

1. Little building on the edge of a farm 2. Built by and for some farmers for a monk: Brother Klaus 3. Structure is built around a mass of tree trucks (112 of them) 4. At the top, the roof is completely open 5. They cast it and then burnt all the tree trunks 6. This still leaves the shape of where the trees once were 7. Molten lead floor 8. Lots of strong smells (including the charred walls) 9. The open roof therefore controls the weather of the chapel, as rain and sunlight both penetrate the opening and create an experience 10. On a sunny day, this oculus resembles the flare of a star that can be attributed to a reference of Brother Klaus's vision in the womb 11. With no plumbing, bathrooms, running water, electricity, and with it's charred concrete and lead floors, the seemingly uninviting chapel remains an anticipated destination for many.

Toyo Ito, Ø Shimosuwa Municipal Museum, Shimosuwa, Nagano, Japan, 1993

1. Located on shore of lake Suwa. 2. Made possible by new parametric programs. 3. Exterior at twilight emphasises warm light radiating from the interior. 4. Reinforced concrete, steel frame structure. 5. Light construction. 6. Narrow angle spotlight 50m distant casts the curved roof in an elegant glow. 7. Toyo Ito wants a lighting design that conceals the presence of lighting fixtures and naturally highlights the architecture's free form. 8. Ceiling of exhibition room is 3d curved surface in100m wide strip flooring with one of the strips serving as a slit witihin which fixed-point spotlights are installed

Ø Aurora Place Office Tower and Macquarie Apartments, Sydney, Australia, 1996-2000

1. Made to resemble sails and arches, enriching the sublime marine environment. 2. Glass facade extends beyond silhouette of building, like floating sheets. A tower shrouded in glass. 3. Operable louvres. 4. Terracotta makes up lower half of building, majority made from milky white fritted glass. 5. Enclosed light sheet contrast heavy aesthetic of traditional skyscrapers. 6. Pulled facade from edge to look lighter, like a dress. 7. Unusual geometric shape, where not one panel is parallel to any grid.

Recent Work - Renzo Piano Building Workshop Ø Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia, 1991-1998.

1. Named after the lead of the independence movement for New Caledonia. 2. Caused a Bilbao effect. 3. Form derived from natives/indigenous people; Kanak Chief's house. 4. Houses manipulated and deconstructed to create a sequence of rounded shells. 5. 10 Shell like structures stretch across hill to overlook ocean. 6. Also picks on New Caledonian imagery -huts/vegetation/culture/tradition. 7. Promenade stretches 250m. 8. Each shell has different function. 9. Timber sun screening solar shading pods. 10. Layered timber slabs.

Duany Plater-Zyberk & Company (Andres Duany, b.1949, New York; Elizabeth PlaterZyberk, b.1950, Pennsylvania; based in Miami) Ø Seaside, Florida, USA, 1981

1. Ordered structures 2.Architectural language very tightly controlled 3. Towers on top of houses for looking out at the scenery for the residences to see the beach even if they were quite far back 4. Red paved roads 5. Artificial-like 6. Community with a town center 7. Traditional wood-framed cottages 8. Seaside was privately owned so they were able to develop their own zoning codes 9. Housing units were a range of different architectural styles (e.g. postmodern, modern, neoclassical etc) 10. Some architects include Leon Krier, Steven Holl, Debrorah Berke, Gordon Burns etc) 11. Strict set of perimeters

Bernard Tschumi Architects (b. 1944, Switzerland; based in New York) Ø Glass Video Gallery, Groningen, The Netherlands, 1990.

1. Originally temporary structure to house music and videos, no permanently resides as a video gallery. 2. All about quality of glass material. 3. Constructed out of single material, both structural and surface elements made from glass. 4. Glass reflection suggests limitless space - at night becomes luminous. 5. Kind of deconstructionist in that its propped at weird angle - manipulation. 6. Redefines the relationship between observer and structure by interposing elements that both veil and illuminate into one. 7. Light glass facade and structure - intangible and light. 8. Tschumi's first work to dwell into concept of the envelope.

Charles Moore (b.1925, Michigan; d.1993, Austin, Texas) - Piazza d'Italia, New Orleans, Louisiana, USA, 1978

1. Playful approach to postmodernism 2. Column capitals look shiny 3. Patterning on ground is riff on classical renaissance era; eclecticism 4. Public space 5. Meant to represent inclusiveness, a place for anyone 6. Contrasting light and shadow elements are expressed 7. Various classical orders are used, different sized columns 8. Located behind the American Italian Cultural center 9. Been chromed to look sparkly and use of bright colours 10. Stripped stonework from renaissance era 11. Materials were stainless steel, neon etc

Kazuyo Sejima & Associates (Kazuyo Sejima b. 1956, Ibaraki; based in Tokyo) Ø Saishunkan Seiyaku Womens' Dormitory, Kumamoto, Japan, 1991.

1. Post war Japanese society. 2. Structure: Round steel columns. 3. Elements disposed in severely linear arrangement. 4. Lightweight architecture with delicate framework. 5. Allocates only the minimum resources in terms of area and volume to the shared bedrooms. 6. Makes common living spaces as large as possible. 7. Client wanted 80 people rather than a dormitory.

Co-op Himmelb(l)au (translates as Blue Sky Co-op [blau means blue, bau means building]; partnership of Wolf Prix, b. 1942, and Helmut Swiczinsky, b. 1944; based in Vienna) Ø Remodeling of Roof-top, Biberstrasse Offices, Vienna, Austria, 1985

1. Rejects architectural norms. 2. Explosive and parasitic - a secondary structure attached to traditional language of Vienna. 3. Early adaptors for digital tools. 4. An extension of law firm, they wanted to expand upwards. 5. Crashed aesthetic had the fragmentation and distorted appearance. 6. Sharp angles and instability like most deconstructivist. 7. Steel backbone used in conjunction with large glazing. 8. Light and skeletal structure which portrays the idea of being under constant construction.

Memorial to the Murdered Jews of Europe, Berlin, Germany, 1998-2005.

1. Restrictive vision when you go in. 2. Avoids symbolism and resists the glorification of what conventional monuments represents. 3. Designed to manipulate your body and movement. Disorientation. 4. Underground room where names are recorded. Eisenman was against the idea, but public demanded. 5. 2711 rectangular stone slabs of varying height. 6. Slabs can be compared to coffins but have no name like the nameless many who were slaughtered.

Ateliers Jean Nouvel (Jean Nouvel b. 1945, Fumel France; based in Paris) Ø Institut du Monde Arabe (Institute of Arab Culture), Paris, France, 1981-1987.

1. Steel Iris sit behind facade. 2. Iris move independently and controls light entry. 3. Very expensive and funded by Arabs. 4. Iris' took inspiration from Arab screens 'Moucharabieh' geometrical patterns of solar shading. 5. Glass facade 6. Building footprint follows curvature of road which is also dictated by the adjacent river.

Hans Hollein (b.1934, Vienna; d.) Ø Museum für Moderne Kunst, Frankfurt am Main, Germany, 1991

1. Stripped back approach 2. Subtle reference to classical world - pediment 3. Took the urban setting into account and the specific conditions of the site 4. Characteristic spaces of different sizes that enter a dialectical relationship with the artwork 5. Tour of the building becomes an emphatic experience in itself through the triangular building on the triangular site 6. The building is structured around a central hall that is suffused with natural light from above 7. Relationship of the individual rooms to one another creates an interesting atmosphere through their varying proportions, and the specific use of light

Peter Eisenman (b. 1932 in New Jersey; based in New York) Ø Wexner Center for the Visual Arts and Fine Arts Library, Ohio State University, Ohio, USA, 1983-1989.

1. Strong grid systems was the dominating formal language. 2. Took city grid and drew into his design. 3. Scaffolding structure like armour runs through core suggests incompleteness. - Gehry. 4. Red brick rock piece clashed with modern light aesthetic of scaffolding - emphasises the old and new. 5. Crude old materials vs new and pristine. 6. Brick structure inspired from former armoury which stood here. reflects history. 7. Although governed by orthogonal grid, some columns don't touch ground, contradicting their role. - plays with the classic symbol of column and deforms its use. 8. Form of Rook pic was chopped up and reinserted into architecture.

Peter Zumthor (b. Basel, Switzerland, 1943; based in Haldenstein, Switzerland)Ø Kolumba, Colonge, Germany, 2007.

1. Used to be an old Romanesque church which had been destroyed by the world war 1 2. Design competition 3. Absorb the existing buildings on the site into the new building 4. Unsual in the sense that it exhibits artifacts that are about 2000 years old with art made now 5. Exhibits the ruins of the old building. Has a red bridge going across it so people can look down and look at these ruins. Respecting and preserving it's essence 6. The city was almost completely destroyed in World War II 7. Contains the Roman Catholic Archdiocese's collection of art which spans more than a thousand years 8. Has used grey brick to unite the destroyed fragments of the site 9. There are 16 different exhibition rooms and a secret garden courtyard (a quiet and secluded place for reflection) in the heart of the building 10. The bricks were specifically developed for this project. They were fired with charcoal to imbue a warm hue

Manning Mitchell (David Mitchell, b.1941, Auckland) Ø State Houses, Mangere, Auckland, 1985

1. Warren & Mahoney, Union House- follow similar trajectories of high modernist, expressed structure and clarity 2. Warren & Mahoney, Citibank- much more classical 3. - brightly coloured playful cheerful architecture as opposed to traditional grim state houses

Toyo Ito & Associates, Architects (Toyo Ito b. 1942; based in Tokyo) Ø Tower of Winds, Yokohama, Kanagawa, Japan, 1986.

1. Wrapped in perforated aluminum panels 2. Picked up and documented the invisible - wind,sound,vibrations 3. Transfers readings into lights - 1300 lamps, 12 neon rings, 30 flood lights 4. Transparent and luminescent 5. By day panels reflect city, by night its dynamic, reactive and ambiguous 6. Imagery like silicon chip was used, inspired from flow of data, information and electricity. 7. Architecture of electronic age - disconnection between form and function, where everything is box like and conceals.

Aldo Rossi (b.1931, Milan; d.1997, Milan) Ø Teatro del Mondo, Venice, Italy, 1980

1. theatre used for performances, played on language of classical 2. Floated on the Venice Cannel 3. Italian Neo-rationalist movement in the 1970's lead to this b 4. Architect did a lot of towers, columns and gables 5. Simplistic but very strong colours are used 6. Built using wood and iron scaffolding 7. Rossi believes that architecture should "provide a stage for life" 8. The stage inside is in the center of the seats

Álvaro Siza (b. Matosinhos, near Porto,Portugal,1933;based in Porto) ØFaculty of Architecture, University of Porto, Porto, Portugal, 1986-1996.

10 different volumes, each one with its own unique personality, but find a common identity through color, opacity and constructive solutions Cunning use of landscape Sit on gentle hillside - view of water Building turning away from road noise Tucked into sloping side landscape - make most of sloping drama Front of side - series of boxes Designed building around trees (site)

House in a Plum Grove, Setagaya-ku, Tokyo (2004) Kazuyo Sejima & Associates

3 generational family, grandmother, parents, kids, rather than make big open plan, goal was to provide privacy from each other. Divided house into numerous rooms The structure of the building is the walls, no columns consisting of 18mm thick steel plates. The house is like a giant paper model. Only two doors on building Privacy and connection is achieved through spatial division with openings. One piece of furniture in each room / only enough space to facilitate one activity - minimises clutter - art gallery aesthetic In a lot of ways the building is actually one large space due to no doors and openings in walls. The house exudes the atmosphere of a gallery in that each object governs its space. Voids in walls that can be used. Every room like a toilet

Peter Zumthor (b. Basel, Switzerland, 1943; based in Haldenstein, Switzerland) Ø Serpentine Gallery Pavilion, London, England, 2011.

A design that 'aims to help its audience take the time to relax, observe and chat - a contemplative room, a garden within a garden The building acts a backdrop for the interior garden of flowers and light. Enters through blackness and shadow and begins to transition into the central garden - a place abstracted from the world of noise, traffic and smells of London Experience will be intense and memorable, as will the materials Courtyard spaces - heavily planted (zen garden - shut everything out) Black rubber sheeting - tough simple geometry of building Simple building - spot where you can sit and chat Aims to bring nature back into human surroundings

I-Project (a.k.a. Grin Grin Park), Fukuoka (2005), Toyo Ito

Aka Grin Grin Park, a pilot project which combines site and design into a multidimensional walk-through experience Island City is an artificial island located northeast of Fukuoka, in order to reinforce the functions of the port, create a whole new industry, improve the traffic system east of Fukuoka The park has three areas: the pond, around which other elements are organized, the greenhouse, located west and that somehow protects against the sea breeze, and the other amenities that surround the pond, such as playgrounds , promenades, etc. Green spaces are mixed with the built spaces The concrete slab and the skylights or glass partitions switch roles as ceiling and walls The skylights are controlled automatically according to the ambient temperature The cantilever structure also offer protection from the summer heat. Based on relationship between nature + architecture; also expressed by Ito previously in his Sendai Mediatheque. Their relationship with nature is not only poetic, but emphasizes its concern with the technology of our era. Shape analysis - a technique used by Toyo Ito -to create a shell of 40 cm reinforced concrete Project aim was to educate public on the flora and fauna Materials - reinforced concrete and steel

MVRDV (Winy Maas, Jacob van Rijs and Nathalie de Vries) Ø WoZoCo's Apartments, Amsterdam, The Netherlands, 1994-1997.

Apartment block for Elderly People 100 living units Built during the amsterdam housing shortage Took part of the side of the building and added then onto the north facade in chunks due to regulations about daylighting Blocks that poke out on the side (huge cantilevers) Lots of balconies that come in and out at different lengths There had to be shifting and cutting costs in the rest of the project in order to provide enough to pay for the cantilevered units The main block features a more simple layout of seemingly random placement and sizing of windows than on the other side where there is a large bunch of different sized balconies The balconies have different coloured stained glass panels (blue, purple or orange) A large amount of glass panels and timber cladding is used

Taichung Metropolitan Opera House, Taichung, Taiwan (2005) Toyo

Archaic type of architecture Building is entirely the system , home run architecture- Le corb broke building up into pieces (5 principles) - structural, envelope, spacial system all manipulated independently - process of composition - home-run arch tries to pull all systems back so it is one type of architecture - ie. floors and walls all one thing. "I aimed to create the architecture of this opera house in such a way that the inside and outside are continuous in a like manner to how bodies are connected to nature through organs such as the mouth, nose, and ears." Features hourglass wells in its facade each are filled with gridded glazing to frame views of city from terraces within. White walls contrast bright red carpeting and paintwork. Form made from temporary steel frames covered in unifying shotcrete - sprayed concrete. The Sound Cave is both a horizontally and vertically continuous network. Design to include sustainable concepts in three main areas.

21st Century Museum of Contemporary Art, Kanazawa (2004) SANAA

Art gallery - with defined set of rooms for diff purposes All different shapes and sizes within the building - rooms at different heights that each hold diff characteristics Pins hold up vertical weight Typical Museum plan is structured into a sequence / chain of rooms. They proposed to reinvent the museum typology. Instead of a sequence of closed rooms, SANAA arranged the exhibitions as a field of rooms in a circular plan. This plan allows curators to select which room for exhibition, as well as close of particular corridors to deny access to certain areas of the museum. Building feels porous - the perimeter of the museum is open to the public with its use of large wall glazing. Heavy structure of building is located inside the boxes of rooms while smaller/thinner/lighter structure are expose behind the glazing. Circular form also allows multiple entry points into the museum. Public services and spaces around perimeter.

Zaha Hadid (b. 1950, Baghdad, d. 2016; based in London) Ø London Aquatics Center, London, England, 2011.

Building was a challenge Was made so that bits of the building could be pulled off after the olympics Temporary seating (taken away after Olympics) - reconfigured to a more sensible size inspired by the fluid geometries of water in motion, creating spaces and a surrounding environment that reflect the riverside landscapes of the Olympic Park An undulating roof sweeps up from the ground as a wave - enclosing the pools of the Centre with a unifying gesture of fluidity Double-curvature geometry has been used to generate a parabolic arch structure that creates the unique characteristics of the roof. The roof undulates to differentiate between the volumes of competition pool and the diving pool

Serpentine Gallery Pavilion 2002, London, UK (2002) Toyo

Collaborative project between Toyo Ito and Cecil Balmond. Algorithmic design. The complex and what seems to be extremely random pattern is derived from a set of rules (an Algorithmic cube sequence) who's intersecting lines forms triangles and trapezoids. Micro Algorithmic architecture - inherently generating a rule that hid itself Rule set of smaller squares inside bigger squares (on a rotation). Pieces of the building were fabricated Thickness of steel changes as the loads get bigger - absorbing loads in almost invisible way Can make buildings everybody liked - if it attracts people, must be a better building Structure becomes the facade with solid and void patterns. Homogeneous architecture where the architecture folds down and becomes the wall. (Puts back the the system Le Corbusier separated with his concept of the Domino house - free facade, open floor and columns).

Mecanoo (founded in 1984 by Erick van Egeraat, Francine Houben and others) Ø Library, University of Technology, Delft, The Netherlands, 1997

Conceived as a landscape as the roof is covered in grass Big glass facade on the side Big reading room and 1000 offices Has a thousand workstations and facilities to accommodate three thousand students each day Is the heart of the university and provide a landmark within a campus the size of a small town The concrete auditorium is tilted at one point; the library slides into the resulting space underneath A cone, the symbol of technical engineering, pierces the lawn and library Upon entering, visitors are drawn to the impressive wall of books that hangs in front of an expansive deep blue background Continuous metal ceiling that flows across all spaces Daylight enters the building through the climate-controlled glass facades, as well as through the cone

Peter Zumthor (b. Basel, Switzerland, 1943; based in Haldenstein, Switzerland) St Benedict Chapel, Sumvitg, Switzerland, 1985-1988

Constructed in the small village of Sumvitg following a 1984 avalanche that destroyed the baroque-style chapel of the village Mountainous views Single interior space Protected from future avalanches by a surrounding forest Used modern materials and techniques for this particular design The cylindar-shaped chapel blends naturally into its context Roof of the chapel is reminiscent of the hull of a boat Natural light from the roof

Ø OMA, Central Chinese Television Headquarters (CCTV), Beijing, China, 2002-2008 [234 metres / 768 feet; 80 floors].

Corporate Headquarters (Office building) Big statement on the skyline Instead of seeing the tower as a one-way street, he wanted it as continuous loop, like the city 40m cantilever so there is huge stresses in the building, there is extra structure where needed A web of triangulated steel tubes (diagrids) that, instead of forming a regular pattern of diamonds, become dense in areas of greater stress, looser and more open in areas requiring less support Tower 1 serves as editing area and offices, and the lower Tower 2 is dedicated to news broadcasting. Bridge cantilever is for administration Facade shows the structure force directly High performance glass panels with a sun shading of 70% open ceramic frit (creating the soft silver-grey color) Strange contrast to the urban city below Some glass floor areas on the cantilever Tower one has a direct connection with Beijing's subway network for the 10,000 workers 12 studios for TV making A Public Loop takes visitors on a dedicated path through the building Includes spectacular views towards the CBD, the Forbidden City, and the rest of Beijing

Neutelings Riedijk (founded 1992 by Willem Jan Neutelings and Michiel Riedijk (b. 1964)) Ø Museum aan de Stroom, Antwerp, The Netherlands, 2000-2010.

Crisp and Clear spaces sixty-metre high tower Ten gigantic natural stone trunks are piled up as a physical demonstration of the heaviness of history Every storey of the tower has been rotated a quarter turn, creating a gigantic spiral staircase This spiral space, in which a facade of corrugated glass is inserted, is the form of the building A route of escalators leads the visitors up from the square up to the top of the tower The top of the tower accommodates a restaurant, a party room and a panoramic terrace Made of mainly large panels of hand-cut red Indian sandstone and curved glass panels The four-colour variation of the natural stone panels The ground floor includes the entrance hall with the information counter, the cafeteria and the departments for logistics, storage and transport

Leaf Chapel, Kobuchizawa, Yamanashi (2004) Klein Dytham Architecture

Curved shaped with plastic lenses Constant moving roof Context: Weddings in Japan are industrialised - it has almost lost its romance as you buy a 'package', hotels with Chapels attached The buildings exists as a metaphor, reflected with the ceremony. When veil is lifted from the bride for the kiss, the leaf also opens up to reveal the landscape and pond. The name 'Leaf Chapel' derives from the form of the structure. Chapel formed by two leaves, one glass one steel. White leaf perforated with 4700 holes is lattice pattern motif that emulates the patterns on the veils of wedding dresses. Light projects these patterns on inner lining to create atmospheric background. 'stamps out weddings every 45 minutes' exemplifies how industrialised Japan has become

Ø Holman House, Dover Heights, Sydney (2004) Durbach Block Architects.

Curvilinear, sensual organic geometries Cantilevered off the side of a cliff Living room is projected out Lots of extras on the roof for the abseilers to clean the windows Picasso painting inspired The curved forms of the kitchen and living room, which project over the sea are supported by four angled stilts, are derived from the torso of Picasso's The Bather Stone walls surround the bedrooms on the ground floor, which nestle against the rock face. It contains a complex series of fluid living spaces set within a meandering perimeter that arcs, folds, and stretches in response to sun, landscape and views. The lower floor forms a base that is built from rough stone walls like an extension of the cliff below.

Cardboard Cathedral, Christchurch (2013) Shigeru Ban Architects

Disaster relief structure. A shaped structure Said to be safest earthquake-proof building in Christchurch Shigeru says its not the materiality that determines strength 8 Shipping containers + cardboard tubes. Temporary design. Semi-transparent, polycarbonate roof. Low cost and easy to erect hence used for disaster relief. Cardboard is structurally solid Timber beams hidden in cardboard tubes actually give it strength

Simmons Hall (Student Accommodation), Massachusetts Institute of Technology (MIT), Steven Holl, Cambridge, Massachusetts, USA, 1999-2002.

Dormitory at MIT (one of the best universities in the USA) To increase interaction amongst students Solids, voids, opaqueness, transparency - to work metaphorically like sponge- large openings soak up light, where it gets filtered through narrow spaces in the building Breaks in section would become main interaction spaces MIT is recognised as the best Architecture school in the world There is three windows high to one floor This was so that the students can't open fully (enough for someone to fall out) There is an illusion of the scale Only a third of the size by which it looks There are 'bites' cut out of the building which functions There's auditorium steps, cafe etc There are cave like spaces that bring light and circulation into the building which also occupies steps or lounges etc. Combination of rigid geometry with the usual perdepictular wall to ground interior lungs scattered throughout have dynamic organic geometry that juxtaposes the rigidity of the gridded rectilinear exterior. Along colored exterior grid system are 5 large openings corresponding to main entrances, view corridors + outdoor terraces.

Ø Altair Apartments, Sydney (2001) Engelen Moore (Tina Engelen and Ian Moore).

Engelen Moore is a New Zealander Translated his previous design of crisp, modern houses into high density apartment buildings - giving overall crisp simple detailing and interior Very rational plans - ruthlessly efficient Cross ventilation through the apartment, keeps rooms right temperature by adjusting blinds and windows Sense of air and space Facilities like a car cleaning area, and bike storage room allow for a practicable and liveable space Excellence in contemporary design Making good use of a difficult site showcasing environmental design

Ø Kiasma, Steven Holl, Helsinki Museum of Contemporary Art, Helsinki, Finland, 1992-1998.

First prize for competition project Pulls the museum apart Make buildings which open into the context Open gallery spaces with top light and curves Two forms twisted Walk up to a view of the landscape Serve the means of a gallery but you are also constantly aware of what's happening in the city around you

Ø Dancing House (a.k.a. Nationale-Nederlanden Building, and Fred & Ginger), Prague, Czech Republic, 1992-1996.

Gehry was trying to do more sophisticated buildings Deconstructivist (New Baroque) bcs at the time stood out among the Baroque, Gothic and Art Nouveau buildings for which Prague is famous Site was the location of a house destroyed by the U.S. bombing of Prague in 1945. Now seen a work of art, adding value to the city Hard to marry the building into the wider context - morphed lines of windows There is a river and buildings surrounding that survived the second world war Fred and Ginger idea Dynamic morphed parts to the building Internally, ginger's shape makes the spaces hard to work with Seems disharmonious to surroundings that also reflects the urban historical context, building as a sculptural form

Tomihiro Art Museum, Watarese, Gumma (2005) AAT + Makoto Yokomizo, Architects

Grouping of small circular rooms inspired by soap bubbles located in a mountain village beside a man made lake Circles on roof acts as walls within the building Bubble plan makes the building super stable, head into different exhibition rooms Intriguing idea of rooms tied together by network Powerful metaphor for modern life - like the Internet! 1!!! Can transition through the spaces really quickly because of bubble plan Each circle has its own distinct size and functional environment. Their proposal opted for simultaneous diversity, whereas contemporary art museums typically opt for neutral, homogenous 'white cube spaces' Self optimised design - no guiding principle, no one solution Glass, Steel, Concrete. Square footprint despite circular spaces since they were looking for programmatic universality that could have been generated at a different site.

Ø OMA, House for a Couple with Three Children (a.k.a. House in Bordeaux / Maison à Bordeaux), Bordeaux, France, 1994-1998.

His goal was to find the right balance so that there is enough stability but also The building was made for a family member being in a wheelchair so there is a big lift right in the middle (big enough to be a room) which has his desk on it (this is in the heart of the building) The lift floated past bookshelves, cupboards and wine racks as it moved vertically On a hill overlooking the city of bordeaux 3 levels which act as though three houses are sitting on each other The ground floor on garden level is a glass room (half inside and half outside), this is the middle floor The lowest floor is merged into the ground Designed to be a complex house as the husband in the wheelchair. He said he will be spending a lot of his time there and so, "the house will define my world..."

T House, Maebashi, Gumma (2005) Sou Fujimoto

House designed around privacy Essentially no doors Vistas open and close - manipulation of super thin walls, and the spatial systems allows for privacy Housing for four. Key idea was the division of spaces inside and how division affect varying levels of privacy. Essentially one room house with soft divisions of space through walls that don't intersect or close. Walls are thin Dividing spaces in these ways means privacy is positional - visual connection between spaces are only allowed at certain angles and perspectives. Views are carefully controlled in the house.

UNStudio (founded by Ben van Berkel (b. 1957) and Caroline Bos (b. 1959)) Ø Möbius House, Utrecht, The Netherlands, 1993-1998.

House for couple - that could structure different spaces for family life Made of steel Sloping roofs Configured as a bunch of ramps Structure the different aspects of life: sleeping, working, playing and dining Has intertwining trajectory that aligns the working spaces and bedrooms relates to the 24 hour cycle of living each day As the loop inverts, the exterior concrete becomes interior furniture Green residential area surrounded by meadows and tall trees The curved and angled lines of the spatial loop reflect the varied landscape Glazed glass surfaces allow natural light as well as beautiful views

EMBT Architects (Francisco Mangado, Renzo Piano Building Workshop, Alvaro Siza and many others from all over Europe and Mediterranean countries) Ø Scottish Parliament, Edinburgh, Scotland, 1998-2004 (completed after Miralles' death).

Hyperactive architecture - things going in all different directions Fragmentation (happy, cheerful architecture) Different image of what parliament would be - different bits scattered Stuff and shapes scattered everywhere - scattered composition - complicated and difficult to build Draw everything in - gathering things from past (rocks) trying to make sense of it articulate incorporation of Scottish heritage into a radically adventurous design Drew inspiration from the Scottish landscape - Miralles borrowed the forms of upturned boats from a nearby shoreline The form of the iconic canoe-shaped skylight apertures in the Garden Lobby. Evoked allusions to the Scottish cross, in ceiling impressions and other details.

Ø Walt Disney Concert Hall, Frank Gehry, LA 1989-2003

Inspired by Gehry's love of sailing, looks like ship Stainless steel exterior Civic neighbourhood filled with important buildings Issues so didn't get completed till 2003 even thought it was pretty much finished in 1991 (mainly due to costs) Saved a huge amount of money by changing the large curved walls to stainless steel instead of limestone - but highly specific steel structure required Lots of other different facilities tucked in (parks etc) Auditorium wraps audience around orchestra Plan- curvilinear forms inspired by musical movement + LA movement Trying to include the public instead of hide it away, made it open and inviting employed software used in the design and construction of French fighter jets. Called CATIA (computer-sided three-dimensional interactive application), this software translates Gehry's organic forms, panel by panel, into buildable construction plans

David Chipperfield (b. 1953; based in London, offices in Berlin, Milan, Shanghai) Ø River and Rowing Museum, Henley-on-Thames, Oxfordshire, England, 1989-1997

Lifted off ground to avoid water from coming up Linear skylights Clear diagram - strong sense of space Inspired by local river boathouses and the traditional wooden barns of Oxfordshire - a simple and clear architectural idea that makes natural connections with the surrounding area A modern building, it also resonates with a local architectural tradition. Decisive factors influencing the design; The reinterpretation of traditional building forms, The elevation of the ground plane The floating wooden boat-halls over a transparent base of glass

Bjarke Ingels Group (BIG), (Bjarke Ingels b. 1974, Copenhagen; based in Copenhagen) Ø VIA West 57, New York City, USA, 2016.

Looking into the east river Courtyard in middle Tall building with courtyard building sliced together Hybrid to high rise courtyard building (between the European perimeter block and the traditional American highrise) volume changes depending on the viewer's vantage point - From the west, it is a hyperbolic paraboloid or a warped pyramid. From the east, the Courtscraper appears to be a slender spire. Shared green space - derived from classic Copenhagen 'urban oasis'. While the courtyard is a private space and a sanctuary for residents, it can still be seen from the outside, creating a visual connection to the greenery of the Hudson River Park

MVRDV (Winy Maas, Jacob van Rijs and Nathalie de Vries) Ø Silodam (Housing Silo), Amsterdam, The Netherlands, 1995-2002.

Lots of different apartments stacked up into one building When the harbor fell into a decline, the buildings, warehouses, and shipyards were left unused Amsterdam had a housing shortage, the city regained interest in the river's potentials and a variety of restructuring projects, where the designers tried to fuse the remaining structure and character of the harbor with new architecture Lots of different cladding materials, windows etc ' Has a jetty as it's on the waterfront Situated on the IJ River, at the tip of the pier 157 apartments, business units and public spaces 10 story high and 20 meters deep urban envelope They can be half a block, a whole block, or diagonal over two floors, some with terraces or balconies others with patios Placement of the interior walls can be moved and replaced by future inhabitants

Rafael Moneo (b. Navarra, Spain, 1937; based in Madrid, Spain) Ø Kursaal Auditorium & Congress Centre, San Sebastián, Basque Region, Spain, 1990- 2000.

Made of 2 blocks - 2 main functions expressed as glass boxes Everything else tucked in a low podium around the main block structures Form reflects the existing city but in a contemporary way 2 different auditorium spaces with public circulation spaces around Becomes illuminated at night The walls and ceilings, illuminated by glass, are covered with movable panels that protect the spectators from the spotlights and allow adjusting the internal conditions The volume of the auditorium is inscribed asymmetrically inside the glass prism, seeming to float within it. The asymmetry is oriented in such a way that a visitor entering the foyer is unconsciously led towards the highest level

Ateliers Jean Nouvel (Jean Nouvel b. 1945, Fumel, France; based in Paris) Ø Musee du Quai Branly, Paris, France, 2006.

Museum - holds the world's chronicle history Set in a garden - spiral your way up and filters around One of the first green facade Make building as a series of small exhibition spaces (have that as a facade of buildings - different sizes and shapes) - showing cultural production Interior free-standing display cabinets create a kind of warren, which encourages visitors to explore rather than to follow a particular path The dominant feature is a 600-foot-long exhibition hall, which mirrors the gentle bend and is peppered with 26 multicolored protruding boxes. This pierlike structure is in turn suspended so that visitors can wander freely around

Toyo Ito & Associates Sendai Mediatheque, Sendai, Miyagi Prefecture, Japan (2001)

New idea of cultural centre (multi purpose complex) 3 key elements: Flat floor slabs; hanging curtain facade; and basket like tubes that acts as an open form structure ( porous and penetrates through multiple floors) An art gallery, library, community centre, and centre for the disabled. Shell diagrid provides the structure for the columns while also simultaneously allowing an open/porous basket like geometry. Like Swiss Re Portrayed architecture of digital age like Tower of Winds. Made to look transparent/translucent with its overhanging facade. Architecture of the digital age was the flow of "invisible things", meaning there is no form to follow like the Modernist period with the industrial aesthetic leading to a design of transparent cultural media centre that is visible and transparent to the surrounding community and neighbourhood. Honeycomb floor slabs (corrugated). Free form plan because of structural column lattice which is independent form facade. Each floor vary in height depending on function.

Ø Building 8, RMIT, Melbourne (1991-1994) Edmond & Corrigan.

Next to the Storey Hall building (below) Is a multi level education exchange, which is a fragment of the university The aim of the building was to delight and break down the dominant and seamless city-wall mood presented on that street The buildings front, side and rear elevations create a whole from fragments and a collage of design 'ideas. It was described by a national architectural commentator as a building that 'thinks it's a city' The building is recognised nationally as being distinctively Melbourne in character and idea. Dr Peter Corrigan is an RMIT Architecture Professor and RAIA Gold Medal winning architect. These works capture the colour, spirit, and expression of Corrigan's history and design

Erick van Egeraat (b. 1956, Amsterdam) Ø ING Bank & Nationale Nederlanden Building, Budapest, Hungary, 1993-1994.

Offices for ING Bank and insurance company Nationale Nederlanden In the centre of Budapest building of 1882 has been painstakingly restored and extended with persuasive contemporary elements one of the first buildings to juxtapose an uncompromising modernism with intuitive organic shapes There is a conference room that hovers over the courtyard, penetrating the new fully transparent climate roof The completed project can be seen as an optimistic sign of a city that is open to innovation and revitalization, whilst respecting its history

Ø Bloch Building Addition, Nelson-Atkins Museum, Steven Holl, Kansas City, Missouri, USA, 1999-2007.

Old part of the building is mostly underground (almost hidden) Look like frosted glass lanterns popping up at night The lenses' multiple layers of translucent glass gather, diffuse and refract light, at times materializing light like blocks of ice. They also are able to diffuse the light into the gallery spaces below New addition extends along the eastern edge of the campus, and is distinguished by five glass lenses, traversing from the existing building through the Sculpture Park The threaded movement between the light-gathering lenses of the new addition weaves the new building with the landscape in a fluid dynamism based on a sensitive relationship to its context. The first of the five "lenses" forms a bright and transparent lobby, with café, art library and bookstore, inviting the public into the Museum and encouraging movement via ramps toward the galleries as they progress downward into the garden.

Aires Mateus, (Francisco Aires Mateus (b. 1964) & Manuel Aires Mateus (b. 1963); based in Porto. Ø Alcacer do Sal Residences, Alcacer do Sal, Portugal, 2010.

Old people home White cubic architecture - crisp intersection Architects main idea behind project is 'the importance of the individual space' seeks to comprehend and reinterpret the combination social/private - Design social spaces and high quality private rooms for the individual Considering the private spaces not only like rooms but as independent houses, volumes or units, they seem to literally combine on top of each other along with their empty terrace spaces into a unique building The building, designed path, is a wall that naturally rises from the topography - it limits and defines the open space, organizing the entire plot. Each room or "house" opens to its own private terrace - allows residents to enjoy the open air in privacy, while at the same time protection from direct southern sunlight. The final form is a clear combination of the void/built sequence of every house

Peter Zumthor (b. Basel, Switzerland, 1943; based in Haldenstein, Switzerland) Ø Thermal Baths, Vals, Switzerland, 1990-1996

One of his most famous buildings 2. Little town in the Swiss mountains 3. Hot springs and hotels in this village 4. Developer bought them and was about to go bust so a group of people from the village got together and bought the hotels. They commissioned Zumthor to do these baths 5. Lots of different pools, inside and outside 6. The roof of the building has grass, blending into the landscape apart from the geometrical pattern in the grass 7. To not obstruct the view 8. Stand up well to differences in temperature 9. Wide openings and terraces, no doors 10. To enter you must use the main hotel and use a corridor through the mountain 11. Looks like the outdoor pool has been carved into the mountain, as if it is a natural one 12. The spa can accommodate 150 people 13. The inside plays a lot with shadows and contrast to convey a relaxed mood 14. Looks like the building is made of about 15 different units 15. Some slits of sunlight coming down through the roof 16. Lots of detail

Paper Church, Nagata-ku, Kobe (1995) Shigeru Ban Architects

One of the first serious buildings after the Kobe earthquake Temporary structure Primary objective to be low cost and easy to assemble. Church had to be quickly assembled and erected by volunteers to respond to disaster such as Kobe earthquake in 1995. Rectangular volume of clear plastic louvres (polycarbonate) enclose an eclipse constructed from 58 cardboard/ paper tubes. Oval of cardboard tubes - potential for disaster relief - simple fabric roof, polycarbonate and steel - cheap 330mm diameter and 5m in height. Tubes constructed from layers of recycled paper to a thickness of 15mm.

Ø Matsudai Snow-Land Agrarian Culture Centre, Matsudai, Nigata, Japan, 2003

One of the snowiest places in the world in winter but also very hot and humid in the summer There are entrances on the second level too for when it's winter and the doors and windows are blocked by the snow on the first level This facility is one of the three event spaces built for the Echigo-Tsumari Art Triennale (big art festival in Japan) 2003. Each one is designed by a different architect Has spaces for the function of a museum, a village centre, a classroom and a performance place It focuses on the theme of agriculture and snow culture The white colour of the building stands out in the lush green surroundings in summer but blends in with the snow in winter Lifting-up also gives every room a panoramic view to the outside There are steel girders on the roof terrace The corridors are painted a contrasting dark, shiny grey colour. This grey hue forms an excellent background that presents the different rooms and work spaces, each in its own colour Bright green shop, the orange toilets, the smooth blue café, the yellow administration office and the red staircase that leads to the rooftop terrace\

Mini House, Tokyo (1999) Atelier Bow-Wow

Packed the house between two other houses Grabbed segments of the house and pulled spaces out Key idea - consideration of the spaces and voids between residential buildings.'Void Metabolism' House sits in centre of boundary with volumes extending from centre. Pinwheel shape in plan. East facade volume projects out, provides shelter space for a car to park underneath. House built with short life span as it was built on land revered for road construction in future. Spaces between buildings no longer a bi product of design but a designed product.

Ø OMA, Kunsthal, Rotterdam, The Netherlands, 1987-1992.

Part of the building goes over a road Is a museum/gallery - but more of a cultural centre The building twists together into penetrating layers Three columns on the facade (tree trunks are wrapped around some columns) There is a completely transparent glass ceiling which is the floor of the level above Situated in Museum Park Three large exhibition halls and two galleries which gives both exposed and intimate space Sloping floors and tightly compact ramps Sits between a busy highway and a network of museums/greenery Functions as a gateway for prized cultural possessions inside museum park Has an independently accessible restaurant Allows maximum flexibility that accommodate a multitude of exhibitions and activities that can coexist singularly or collectively.

Ando Hiroshige Museum, Batoh, Tochigi (2000) Kengo Kuma & Associates

Particlelisation - lourvred ceiling - play of light and shadow- idea of 'pixelated surfaces'; surface of building especially in the roof are broken up and divided.) Surface of the roof also becomes the louvres. Use of louvre like surfaces gives transparent effect. As you walk and experience the museum there is a disappearance or a haze created by the louvres (disappearance of smoke). Light filters through and penetrates into the structure Paper thickness of 15mm. Break a buildings materials into small pieces, spaces between allows light and shadow

Johnson & Burgee (Philip Johnson, b.1906, Cleveland; d.2005, New Canaan) Ø AT&T Building, New York, USA, 1984

Playful deployment of historical quotation contradicted modernist imperatives Design was a search for architectural meaning - postmodernism Borrowed architectural devices from such disparate sources as Renaissance Italy, 17th century England Large entrance portico suggest back to great Italian arcades, immediately removing visitors from the modern Manhattan Entrance engages a circular motif with a set of semicircular arches The simple geometry indicative a return to the perfect forms pursued by Renaissance and desire to break free from modernism's characteristic geometric angles Structure of the building is inherently modern, built using steel framing system inset behind the facade - reveal a curious act of deception by the architect

Wiel Arets Architects (Weil Arets b. 1955, Heerlen) Ø Academy of Art & Architecture, Maastricht, The Netherlands, 1989-1990.

Provides new spaces for the school of visual arts and architectural design Set as if it is almost camouflaged in relation to the city, providing an enclosed public space that achieves an intimate and secluded condition from the main areas of urban activity. The connecting footbridge with translucent glass brick floor and ceiling leads one through the treetops into the workshop building Conducive to social interaction Only one entrance to the entire complex, and only one ramp leading into the newly constructed auditorium, library, and bar The adjoining patio is designed as a sculpture garden Both students and professors are made to walk along the same route through the different faculties: Architecture, Fashion, Painting and Sculpture

Ø The High Line, New York City, Diller, Scofidio + Renfro, New York, USA, opened 2009.

Public park built on a historic elevated train line on Manhattan's West Side Huge revival of this part of city Turned into a long thin park Surrounded in famous buildings (e.g. Zaha Hadid, Tadao Ando, Gehry) 5 million visitors annually Like a gallery or museum- experience the city in a new way- the city 'like an exhibit' Parallel to river- sense of air and space High so visitors are elevated off the street but also not too high so that you still feel a connection with the street

Ø OMA and REX, Seattle Central Library, Seattle, Washington, USA, 1999-2004.

Rejection of the norms Public library Allowed for different spaces for meeting, parking, books, staff headquarters and HQ which are organised in overlapping platforms Spaces designed with varying size, flexibility, circulation and structure depending on what their function is Made of steel reinforcement which acts as the skeleton of the building on the outside. This is then exposed as glass just covers it. There is a book spiral so they can just shift all the books when they buy more, instead of having separate book shelves The library can hold up to 670,000 more books than what it opened with, without adding anymore bookshelves This therefore gives the shape of the building logically as well as showcasing it's elegance The outside represents an architectural skin (lots of glass used) When there is more stress, they've added more structure

Ø OMA, The Interlace, Singapore, 2007-2013.

Residential Stacked in a hexagonal arrangement (honeycomb-like design) around eight large-scale open courtyards Resort-like living spaces on the ground level Thirty-one apartment blocks each are 6 stories tall and are the same length Maintaining the privacy of the individual apartments through the generous spacing of the building blocks Ample spaces and opportunities for social interaction and shared activities while also providing intimate spaces of privacy and quietness (indoor and outdoor) Eight-hectare site 1,000 residential units of varying sizes, each with unobstructed and varying views over the parks, the city, and the sea Also has low-impact passive energy strategies

Álvaro Siza (b. Matosinhos, near Porto,Portugal,1933;based in Porto) Ø Ocean Swimming Pool, Leça da Palmeira, Portugal, 1961-1966.

Seaside swimming centre Clear geometry, compositions, functional, cunning things, Smart arch - strong use of form and light - old school architecture Long and low, sitting tightly down landscape - on road you can see right over the building (what's the building and nature, sea) Positioned almost completely out of site Respect for the natural rocky coastline - careful to preserve a large portion of the existing rock formations when planning into the landscape By sinking the building behind the road Siza promotes a disconnect between his pools and the infrastructure of the city Cafe changing rooms etc, tucked along roadside - very discrete Raw materials used to blend in landscape - concrete, timber - tough insertion Walking down the corridor the rough concrete walls begin to obscure the views of road and ocean - no views, the transition between roadway and ocean is captured in an sensory experience within the building. Siza develops the site through an abstraction of contours that shape terraces and paths allowing his spaces to take on the character of a social stage that responds to both the landscape and the activities of the occupants. Simple building but process and true quality are subtly revealed in the detail Light intensity and a sense of the surroundings are incorporated through a conscious arrangement of apertures that add variations of illumination and shade. The awareness of internal and external intricacies comes from a compression and expansion of spaces, experienced spatially on various levels, which he depicts two- dimensionally in sketch and section.

Roof House, Kanagawa (2000) Tezuka Architects

Simple design in suburban area, looks over green valley Cheerful architecture, magic spaces Each room in the house has a skylight Up on the roof there is essentially another house - shower, kitchenette, table Built for a family with young children who had enjoyed spending time on the roof of their former home. Single storey home topped with large roof that performs as houses primary space and a viewing platform. Provides an engage like zone beneath the eaves. Explores ways users can imaginatively engage with the environment. Wood Structure. Skylight and entry point to roof

Eduardo Souto de Moura (b. Porto, Portugal, 1952; based in Porto) Ø Braga Football Stadium, Braga, Portugal, 2003.

Site on a hillside in old quarry Huge canopy over top tied together by ties and concrete - tension structure Huge structure to resist force The steel strings provide a visual connection to each stand on either side of the field Each stand is covered by a canopy-style roof Integrated into site Visually open to connect the external environment

Santiago Calatrava (b. Valencia, Spain, 1951; based in Zurich, Switzerland)Ø Lyon Airport Station, Lyon, France, 1989-1994 (link from high speed rail to airport).

Skelton look Over train station - make building as a marker (bridge over the tracks) Underneath grandhall The steel roof is composed of four converging arches with a curved, tapering, arched spine. The glazed central hall sweeps upward so it is free of visual obstructions Idea of design derived from one of Calatrava's sculptures a balanced shape resembling a bird at the point of flight Roof is open to the sky - connection to external environment

Ø OMA, Educatorium, University of Utrecht, Utrecht, The Netherlands, 1993-1997.

Some sloping columns Outdoor plaza, cafe, two lecture halls and exam halls Ramps on the outside and inside (Planes interlock to create a single trajectory) The effect of this gives the entire university experiences a socialisation, learning and examination atmosphere Exam halls are also designed to allow varied configurations of furnishing and inhabitation On the north side, the larger auditorium is open to the view of the botanical gardens There is a glass wall showing the view to the outside while providing a screen of privacy for the interior In the ceiling, steel reinforcement bars emerge from the exposed concrete slab In the cafe, sloping ceiling together with the columns generates a series of spaces within the large room.

Toyo Ito Ø ITM Building, Matsuyama, Tokyo, Japan, 1990

Steel frame structure. Complex visual layering. Functions as an office. Three stories Play with translucently - make it look like it almost disappears Brushed aluminium Amazing play with light - reflecting off the aluminium (playing with materials) Playing with whats solid and materials

Santiago Calatrava (b. Valencia, Spain, 1951; based in Zurich, Switzerland) Ø Athens Olympic Sports Complex, Athens, Greece, 2001-2004.

Symbolic of the Athens Olympics Provided a common identity using both built and landscape elements The central circulation spine for the complex runs in an east-west direction, connecting the Olympic Stadium and the Velodrome Connecting the build environment with the natural environment - Perpendicular to this spine is a wide boulevard of trees that links the tennis courts, the new warm-up areas etc The Olympic Stadium is covered with a roof of laminated glass, composed of a pair of bent "leaves," capable of reflecting up to 90% of the sunlight. 4 entrance plazas - Each entrance gate is roofed with a vaulted steel canopy, which provides the public with a clear identifying element for the complex When illuminated at night, the canopies serve both as orientation devices and as attractions in themselves.

Robert Venturi (b.1925, Philadelphia) & Denise Scott Brown (b.1931, Rhodesia); based in Philadelphia Ø Sainsbury Wing, National Gallery, London, 1991

Taken building and played with classical language then stretched and fractured it huge big classical edifice, look at fractured and stretched out sections- deconstructivist ideas- less playful more angry Presents diversely textured elevations to all the streets it faces, never hiding its size Internal scheme is also a great technical resolution of conflicting demands - grand enfilade of arches simultaneously recall the Florentine church Visitors journey from the street is compressed, low-ceilinged ground floor space, whose rear wall emphasises the feeling of being 'underneath' Venturi has used the same Portland stone in the main facade that facades lining the Wilkins building, in others uses brick or glass Internally communicates with the main building by an overpass encased in a circular design with a large window and a walkway below

Ø Blur Building, Yverdon-les-Bains (Lake Neuchâtel), Diller, Scofidio + Renfro, Switzerland, Swiss Expo 2002.

Temporary building Wanted to make a building that "wasn't a building" so they are visually art installations but have the function of a building Has a wire frame around it and inside of that is thousands of mist nozzles (artificial clouds) Visitors issued w raincoat, experience of being in an artificial cloud Hydraulic engineering involved Was only there for a few months then demolished "Response was intent on delivering nothing. We gave the site back to itself disguised as architecture. In the 'cafe', visitors could drink the building (and thus the site) in the form of packaged water." Instead of a media rich, high definition visual environment, upon entering blur, one can see nothing and hear nothing. The sound of the building being perpetually remade through 30,000 high-pressure fog nozzles was dominant.

Herzog & de Meuron Ø Tate Gallery of Modern Art, Bankside, London, UK, 1997-2000.

The building was first used as a Bankside Power Station but, once renovated, it was then opened to the public as a gallery Creating a contemporary public space without diminishing the building's historical presence The cultural icon has since become the most visited museum of modern art in the world Situated across the Thames from St. Paul's Cathedral The most apparent exterior alteration is the light beam set atop its roof. translucent glass clearly differentiate it from the dark masonry and detailed brickwork of the original facade. The transition between old and new is not always obvious Avoids using jarring interventions that might distract from the works of art The heavy stair rails, cast iron grills, and unfinished wood floors harmonize with the original aesthetic The interior with galleries of differing sizes The former plant's three massive oil tanks opened in 2012 as another type of gallery unique to the museum

Architecture Workshop (Chris Kelly, b. 1957, Wairarapa; based in Wellington) Ø Peregrine Winery, Gibbston Valley, Otago, 2003.

The concrete entrance ramp takes the visitor down directly to the heart of the winemaking operation 40m long 'cave' with lines of oak barrels stretching to an entertaining courtyard The 'fly' roof is both pragmatic and symbolic. It provides the water proofing and support for snow loadings as well as improving the environmental performance of the serviced boxes below by removing most of the solar loading Striking gesture in the landscape The changing roof gradient was inspired by old still images freezing the kinetic rotation of a bird in flight (for the architect) Reflecting the refining process the grapes go through, as the roof rises from its low slope at the river end to the 25-degree slope at the woolshed end (metaphor for the clients)

Mecanoo Ø Library of Birmingham, Birmingham, United Kingdom, 2013

There are lots of gardens on the roof Situated in Palazzos Centenary Square, the largest public square in the heart of Birmingham The building transforms the square into one with three distinct realms: monumental, cultural and entertainment Forms an urban narrative of important periods in the history of the city; The Repertory Theatre (REP), a 1960s concrete building, the Library of Birmingham, designed in 2009 and Baskerville House, a listed sandstone building designed in 1936 Lots of different and unique spaces e.g.blue escalators in the heart of the building There are eight circular spaces Rotundas allow natural light and ventilation Rooftop rotunda houses the Shakespeare Memorial Room which is lined with wood from the first Birmingham Central Library Circular pattern on the facade Has a large cantilevered canopy provides shelter and a large city balcony Although it is a transparent building, it maintains energy efficiency through the buffering capacity of the building mass and the atria

Ø Storey Hall, Melbourne (1992-1995) Ashton, Raggatt McDougall (ARM).

They went over the top - lots of lime green Repetitive tiles on the facade which appears to be a random pattern Defined a direction for Melbourne Cringe designing (on purpose) The building also contains offices, a smaller lecture theatre, a range of galleries and associated lobbies and bars The complex includes two multi purpose theatres Devotional fragments of much loved melbourne monuments are scattered throughout the building Green being the dominant colour refers to the Hibernian Catholic community that built the original hall The deliberate use of pentagons are given free expressionistic range on the auditoriums ceiling Storey Hall represents a remarkable accomplishment in the architecture of embodied meaning, and won multiple awards because of this

Small House , Shibuya, Tokyo (2000) Kazuyo Sejima & Associates

Tucked into a dense neighbourhood of Tokyo. An open spiral staircase is the main element connecting the spaces while softly sub-dividing them even further. Takes on OMA approach, with stacking of shifted floor plans and join them together with a skin. Large openings and panels open up towards a shrine site, made possible because the adjacent site is undeveloped; which was risky because buildings in Japan have a short life span and the site would have been developed but was unlikely. Relationship of housing to exterior context is different on each floor. Calibrated floor space to suit needs Wrapped opalescent glass and galvanised steel seam. Few operable windows, due to cold winters and hot and rainy summers.

Saitama Prefectural University, Koshigaya, Saitama (1999) Riken Yamamoto & Field Shop

University institution with 2 departments. Enormous scale, one campus with one building. Teaching spaces/volumes are put onto plinths. As you move around the campus you are aware of what is happening around the surrounding context. Designed to force and encourage interaction between staff and students. Built over a rice paddy. Teaching space put onto plinths. Two long blocks on either side - nursing/medicine Huge blocks filled with offices/studios/staff spaces Easily get lost within, so have markers around the school Won a competition

Ø OMA, Casa da Música, Porto, Portugal, 2001-2005.

Using elements found in the city to incorporate into the building (e.g. black and white tiles on the patio and Alleyways are made of aluminium) Portuguese Theatre/concert hall Design based on a shoebox that is drilling through the middle The building has had masses taken out of it which forms the spaces inside Made the walls are not actually thick enough structurally but they've added extra structure in a rational way Redefining the relationship between the hollowed interior and the general public outside Made of white concrete Corrugated glass facades at either end that open the hall to the city. This also adds a dramatic backdrop for the theatre Situated in front of the Rotunda's park but also in with the buildings of the city Also has a small performance space with no seating, ten rehearsal rooms, recording studios, an educational area, a restaurant, bar and a VIP room Some walls are clad in plywood with enlarged wood patterns embossed in gold VIP area has hand-painted tiles picturing a traditional pastoral scene Deliberately no large central foyer; instead, a continuous public route connects the spaces around the Grand Auditorium by means of stairs, platforms and escalators

Frank Gehry (b. Toronto, Canada, 1929; based in Los Angeles, California, USA) Ø Guggenheim Museum, Bilbao, Basque Region, Spain, 1991-1997.

Using new fabrication techniques - new software to cut up the steel etc - revolution Industrial part of Spain Produce bunch of flowers form ‬Constructed of titanium‭, ‬limestone‭, ‬and glass‭, ‬the seemingly random curves of the exterior are designed to catch the light and react to the sun and the weather Curvilinear form Shock of the new - innovative at the time - icon of the town, popular tourist attraction The building alludes landscapes‭, ‬such as the narrow passageway to the main entrance hall reminiscent of a gorge‭, or the curved walkway and water features in response to the Nervión River‭. ‬from the ground the building more closely resembles a boat‭, ‬evoking the past industrial life of the port of Bilbao

Tod's Omotesando Building, Shibuya-ku, Tokyo (2004), Toyo

Wrapped skin of tower of criss -crossed concrete braces and glass that mimics the trees lining 'trees' silhouette' for a facade - tree trunk has natural stability, physical logic, spatial logic from the shape of the trees Reinforcing of steel - jigsaw puzzle- Metal cast into the concrete Multiple levels each having varying degrees of transparency Criss-cross concrete brace that wraps around a skin of glass. The braces themselves mimic to silhouette of the street, street of trees. Tree silhouette made sense, the structure of the tree that is larger at base and gradually thin at top creates spatial logic. This spatial logic creates the right kind of space as you ascend towards the top of the building. 13 tree silhouettes. Concrete facade bracing allows for a free plan reinforcing for the concrete was incredibly complex and difficult as each bit of steel reinforcing rods are slightly different and cant be mass produced, this is due to the sharp angles and the branching nature of the silhouette.