House H is in a traditional residential area, Tokyo, Japan. However, the owner dislike this traditional style, he is more prefer modern and simple style.
Therefore, Sou Fujimoto uses the concrete as wall’s main material, which is the most the simple and clear architectural material. And the house has 4 huge windows and those can give the house as much as natural light.
What is more, the inside space has organized rooms and personal space. In this house just has big white ceiling and white wall without other decorating parts.
And it is Sou Fujimoto’s main style: Going back to natural.
Selser – Schaefer Architects are very eco-friendly and they focus on refurbishing and revitalizing previous structures found around Oklahoma. These buildings have a very retro feel to them because they use old/dilapidated buildings and make them almost brand new on the inside while keeping the old school architecture on the outside.
300 East Brady in Tulsa’s Brady Arts District was set to be demolished until Selser – Schaefer Architects went to work on reusing the abandoned warehouse. It was transformed into an office area with a 2 story loft apartment next to it. The existing building was restored to its original appearance which helps maintain its historic fabric of the neighborhood. This building also uses Geo-thermal wells to provide the building with ground-source heating and cooling all year long.
Adhering to one of his signature traits, Libeskind again unveils the glass façade on the Bord Gáis Energy Thearte. Designed in 2010, positioned on the Dublin canal, is a 2,000 seat theatre, formerly known as the Grand Canal Thearte. The building serves as a hub for the arts, housing many dance, opera, drama and musical performances.
Libeskind dragged inspiration for the building from what the interior is all about, the stage. There are several ‘stages’ within the building, the first and foremost being the physical performance stage, as well as the multi-level lobby, and too, the piazza.
The building also follows the dramatic scene, as the evening creates an illumination of the entrance, aided by the tilted façade.
The overall aesthetic of the building houses a modernistic vibe, with a grand artistic feel, central to the main focus of the building. Whilst being a bold piece of architecture in its real-estate, it too manages to tie in nicely with the neighbouring buildings.
Following the theme of museums, is Daniel Libeskind’s design of the Danish Jewish Museum, located in the heart of Denmark. Tucked away in one of the most historical regions of Copenhagen, is this beautiful piece of architecture with such a strong sense of cultural importance. The strong aesthetic doesn’t so much lie within the exterior of the building, but more so with its innovative interior. It in fact is located within a 17th century shell, with a 2003 update to the inside.
The interior is truly unique, and uses the small space to its advantage. Adhering to its Jewish roots, the interior speaks of kindness and lives by the ‘Mitzvah’ spirit. The walls, spatial arrangements and its unique assembly are utilized to express the emotion of the Danish community through the Second World War.
There is a strong juxtaposition between the interior and the exterior, and that is just one more element that makes this building so unique. The inside offers a luminous flow and creates a sense of direction and moving forwards, whilst also highlighting the journey to the end, or metaphorically understood as the present.
At the heart of Downtown Toronto, you’ll find the Royal Ontario Museum. The extension to the museum was designed by Daniel Libeskind and completed in 2007. Expanding over 100,000 square feet, the building is home to the largest museum in Canada, seeing over one million visitors a year. It has a striking aesthetic exemplified through its fierce blend of modernity and its historical sense.
What was later named the Michael Lee-Chin Crystal building, comprises of 25% glass and 75% steel beams coated in silver and aluminium cladding, which effectively makes up the five interconnecting structures. The glass façade is a distinctive Libeskind move, but truly aids to complexity of the museum. The juxtaposition creates this idea of history, and how now is going to be just as much history as yesterday. It greatly embodies the concept of the museum, and offers a pleasing aesthetic at the same time.
There have been many specific details introduced to gain a more holistic experience. One significant feature that Libeskind mentions, is the installation of an addition entrance. This group entrance allows for an instant gateway to the overall theme of the museum, nature and culture. This is exemplified through the intertwining staircases which allow for an immediate entry into the exhibits.
Unique, eye-catching, characteristic. All words you could use to describe one of Daniel Libeskinds’ latest projects, Vanke Pavilion. The Vanke Pavilion was completed in 2015 and resided in Milan, Italy, through its six-month lifespan. It was built under the guise of “Feeding the Planet, Energy for Life” through the Expo Milan, and stood as the corporate pavilion for Vanke China, adhering to parts of the Chinese culture. It resembled this by gaining inspiration from their food, their landscape and the dragon
The pavilion was home to over 4000 red metallic tiles, that was designed by Libeskind in collaboration with Casalgrande Padana. The tiles remained true to the theme of “Feeding the planet, Energy for Life” as they were self-cleaning whilst creating an air purification element. Additional to their environmental functionality, it also created a fun aesthetic that clung to the dragon like visual.
The inside also follows the Chinese inspiration, with a bamboo interior, which housed the 200 screens that was fixed to the scaffolding. The screens displayed an ongoing story. It was a dispersed story line, which only added to the complexity of the overall building. Both the interior and exterior of the building were quite extravagant, with a grand stair case and a strikingly stunning exterior.
Daniel Libeskind is truly a well renowned architect with pieces placed in history all over the globe. However, one of his most distinguished works, lies here, in New York City. In 2002, his design, “Memory Foundations”, was chosen after a competition to commemorate the lives lost in the 2001 terrorist attack, 9/11. Libeskind was thought to be the architect that would go on to design those buildings, however, that was not the case. Instead, Libeskind took more of a back seat role, but remained in control over the master plan. He worked closely with the architects that were enlisted, and in turn finally created a sense of collaborative healing, after years of tension among the architects.
Libeskind’s original designs were changed quite dramatically in the end. Daniel addressed this upon completion by saying, “In the end, the public will see the symbolism of the site. Of course, compromises had to be made, but a master plan is not about a few lines drawn on paper. It’s about an idea.”
Daniel’s design stood tall at 1,776ft, resembling the year the Declaration of Independence was signed. His original design also tied the memorial to the larger community, incorporating parts of the New York City skyline into the monument, particularly the original towers and the Statue of Liberty. Although the final designs didn’t exactly portray his intended aesthetic nor emotions, he did manage to achieve such emotion through his job of overseeing the overall holistic authenticity of the memorial.
The final memorial captures the heart of the land. It serves as a memorial for the tragedy, leaving half of the 16-acre plot to a natural stage, which is a rare-find in the New York CBD. Standing in the original footsteps of the towers, are two man made waterfalls, accompanied by the names of the victims. This has quickly become a major landmark in New York City, as it has created a sense of reflection and sorrow.
Only recently opening the doors, is Daniel Libeskind’s tower, Vitra, located in São Paulo, Brazil. Just completed in 2015, is the state-of-the-art residential building, Libeskind’s first in South America. It stands tall at 14 stories high, and sits tight within the city’s skyline.
Inspired by the “optimism, vibrant culture and dynamic possibilities” of the Brazillian people, Libeskind designed a breath taking building, which truly is a crowd stopper. Made out of glass-clad, the exterior truly embodies the sense of luxury. It doesn’t stop there, with a beautiful interior. The luxurious element continues as each apartment in the building is unique to the rest.
The modernity of the building doesn’t stop at its aesthetic, but continues through its sustainability. The building has been designed to reduce its environmental footprint through the implementation of several renewable functions. The building has incorporated a rainwater system, installed solar panels, and used sustainable materials which in turn heightens the buildings energy efficiency.
The Vetra building has made a mark on the São Paulo region and has been labelled as an icon for the region, and has started strong as one of the most desirable apartment buildings in the region.
The cube 2 was what has been the latest breakthrough with her work. With the well-received cube 1 that captivated the minds and hearts of the people in Mexico.
This building somehow has a more aesthetically pleasing look than cube 1 has in my opinion. I believe that this somehow gives the viewer a calming feeling with her sharp edges and the dark color that the building presents. It almost has a harmonious feeling that resonates with the sharp incline that helps deviate it from the surrounding buildings. As if it shoots from the ground itself with an outcry that you must look at it, or miss something that has been unprecedented.
There is also a vagrant use of natural light with the amount of windows she incorporated into it. It also has a very interesting use of glass that is seen from a distance.
The building is about 90 years old and incorporates the old style with new technologies. The wall that has the windows all have automated solar shades that are also heavily insulated so that the building’s temperature stays constant. Electricity is used less because there is natural sunlight used during the day and electricity created from the solar panels is used in the night time. There are also Geothermal wells that supply the office space with a sustainable about of ground-source heating and cooling.