여 행 | 旅行2013. 7. 22. 01:41

Straight away we’ll say that this isn’t a top 10 list. There are just far too many styles of buildings, each worthy of a top 50: sacred buildings, homes, skyscrapers, theatres…

Instead, this is a list showing the variety of architectural beauty across the globe. Some will argue about the omissions – the Sydney Opera House, the Chrysler BuildingFallingwater – but consider this a starting point, a checklist of architectural must-sees for an eye-rewarding round-the-world trip.


Museo Guggenheim, Spain


Image by aherrero

Some critics might argue that Frank Gehry’s Museo Guggenheim in the northern Spanish city of Bilbao, opened in 1997, looks as though it’s been taken to by a can-opener, but this is one of the most influential and striking buildings in modern architecture. With its ribbonlike sheets of titanium and its collection of interconnecting blocks, the museum gives a nod to Bilbao’s industrialism but also to the saucerlike curves of Frank Lloyd Wright’s Solomon R Guggenheim Museum in New York. Oh yeah…nearly forgot. There’s art inside, too.



Potala Palace, Tibet


Image by watchsmart

Perched high above the holy city of Lhasa is the former seat of the Tibetan government and the winter residence of the Dalai Lama. More notable now for its imposing presence than its residents, this huge construction is 13 storeys high, contains thousands of rooms, and is styled like a traditional Buddhist gompa (temple), if significantly more elaborate. More than 7000 workers were said to have been involved in its construction during the 7th century AD. Potala Palace is now a state museum of China, and has been given a place on the Unesco World Heritage list.




Bibliotheca Alexandrina, Egypt


Image by alexandra_de_grote

Between the ancient pyramids and the Bibliotheca AlexandrinaEgypt now has the best of old and new. Like a giant discus landed at an angle or an enormous light switch, Alexandria’s oceanfront library is arguably the first great design of the new millennium. Completed in 2002, it’s inspired by the original Alexandrina library, founded in the 3rd century BC and acclaimed as the greatest of all classical institutions. The building’s sloped design represents a second sun rising beside the Mediterranean. The vast rotunda space can hold eight million books.




Sagrada Família, Spain


Image by photographerglen

Surely the most extraordinary church on the planet, from the mind of one of history’s most eccentric designers: Antoni Gaudí. With its tapering towers like the straightened arms of an octopus, construction of Sagrada Família began in 1882, though Gaudí’s vision was so complex that the church is still unfinished. It will ultimately feature three façades and 18 towers, the tallest of them (170m) representing Jesus Christ. Plans are to have the Barcelona icon completed in 2026, the 100th anniversary of Gaudí’s death, although it will almost be a shame now to see it finished.




Taj Mahal, India


Image by gustaffo89

Is this the world’s most famous building? And its most romantic (ignoring the sprawling, industrial city around it, and the hordes of rickshaw-wallahs and touts)? Described by Indian poet Rabindranath Tagore as ‘a teardrop on the face of eternity’, the Taj Mahal in Agra was built by Emperor Shah Jahan as a memorial for his second wife, Mumtaz Mahal, who died giving birth to their 14th child in 1631. It’s an extravagant, whitemarble monument to love, which may explain all the young, starry-eyed couples wandering around it. If you’re heading to the Taj, read our 5 ways to see it as well as fantastic side trips in the area.





Imam Mosque, Iran


Image by Laura and Fulvio’s photos

Headlining beside one of the world’s largest squares, Esfahan’s Imam Mosque is a tiled wonder. Completely covered, inside and out, with pale blue and yellow ceramic tiles (which are an Esfahan trademark), it’s a stunning 17th-century mosque, with its tiles seeming to change colour depending on the light conditions. The main dome is 54m high and intricately patterned in a stylised floral mosaic, while the magnificent 30m-high portal is a supreme example of architectural styles from the Safavid period (1502–1772). The mosque sits askew to the square, at about 45 degrees, so that it faces Mecca.




Winter Palace, Russia


Image by Michele Benericetti

Best known as the outer casing for the remarkable State Hermitage Museum, this pistachio-coloured gem on the banks of the Neva River in St Petersburg was designed by Francesco Bartolomeo Rastrelli as the winter residence of the Russian tsars. Filling an entire block, it bears all the whimsy and ornamentation of the baroque period, and statues line its roof edges like divers about to plunge into the Neva. Little wonder it should be the showpiece of a city built specifically to highlight that Russia could match the architectural beauty of Europe.




Crac des Chevaliers, Syria


Image by peuplier

Described by TE Lawrence as the ‘finest castle in the world’, this hilltop Crusader fortress might be 800 years old but, like a good botox treatment, stands tight and taut against the ravages of time. It’s the classic blueprint of a medieval castle, its thick outer walls separated from the inner structure by a moat dug out of the rock. Inside, it’s a minitown, complete with a chapel, baths, a great hall and a Gothic loggia. The most visible sign of ageing is the vegetation that grows from its walls; nothing a good shave wouldn’t fix.




Museu Oscar Niemeyer, Brazil


Image by Felipe Vieira

Designed by Oscar Niemeyer, the celebrated architect behind the creation of the Brazilian capital, Brasília, the Museu Oscar Niemeyer in Curitiba will test your view of aesthetics. Like all great buildings – and probably more so – the art museum’s appearance has an element of love-it-or-hate-it, with its main gallery shaped like a reflective glass eye, balancing atop a yellow support, and approached on curving ramps above a pool of water. Once inside the building commonly called the ‘Eye Museum’, you’ll see that every aspect of the museum’s design seems to marry beauty with whimsy.





Aya Sofya, Turkey


Image by Sev!

Aya Sofya is the great architectural landmark at the heart of Istanbul, with its four minarets poised like moon-bound rockets. Constructed in the 6th century AD as an Orthodox church, it later became a mosque and, since 1935, a museum. The enormous structure was built in just five years, and its musk walls are topped by an imposing dome, 31m wide and 56m high. The dome’s base is ringed by windows, so that from within the structure, the dome seems almost to hover ethereally above the building.



Source : Lonely Planet 

Posted by K_Min
건 축 | 建築2009. 7. 2. 17:52

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Los Angeles practice XTEN Architecture24 have completed a gallery perched on top of an art collector’s house in Los Angeles.

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Called Sapphire Gallery, the project involved creating a space to display the owner’s private collection of artwork that could also be used for family activities.

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The extension is elevated to allow for parking, a play area, and space for parties and projections underneath.

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The structure was built in a factory and assembled on site in one day.

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More information about the project in our previous story25.

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Photographs are by Art Gray26.

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The following text is from the architects:

Sapphire

Residential Gallery Addition to Private Residence, Los Angeles, California

The Sapphire Gallery is a residential addition designed to display a private collection of contemporary art while also providing for a home office with views to the surrounding hills.

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The owners’ collection includes work by the artists Gregory Crewdson, Uta Barth, Tomoroy Dodge and the video artist Jennifer Steinkamp, and they expressed interest in a new building that would be more than just a container for their expanding art collection.

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The new building would have be multivalent; with suitable spaces for the artworks, but it would also have to be open to the views, provide for various domestic program spaces, and create a compelling new focal point for the approach and entry to the residence.

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The new structure is grafted onto the circulation spine of the existing house and lifted off the ground to provide a minimal footprint.

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Freeing the ground plane creates a new multi-functional hardscape/landscape area for the family that they use as carport, children’s play area, for art parties and video projections.

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A structural system of lightweight braced frames was developed. They were factory built and assembled by crane in one day.

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These trusses rest upon moment frames that clear span the open ground plane in the perpendicular direction, and the floor and roof diaphragms are infilled with typical 2x wood framing.

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The system proved to be a remarkably simple, flexible and cost-effective way to achieve the program parameters of the project.

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The remaining details are simple and direct: casement windows, quartz pebble flooring, steel stairs and railings with perforated panels, infill walls of gypsum board with floor to ceiling pivot doors, full height glass with a ceramic coating for UV and solar protection.

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An array of photovoltaic cells on the South facing sloped roof produces an average of 15kWh per day, enough to supply all the energy for the new building with a surplus directed towards the main house.

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Posted by K_Min
건 축 | 建築2009. 4. 16. 18:09

Architect: Doriana e Massimiliano Fuksas
Location: Tokyo, Japan
Programme: Multibrand - GIORGIO ARMANI, EMPORIO ARMANI, ARMANI/RISTORANTE, ARMANI/PRIVE’
Construction year: December 2005 - November 2007
Site: Ginza, CHUO-KU TOKIO
Client: Gruppo Giorgio Armani
Interior and Furniture Design Team: Filippo Bich, Ana Gugic & Maria Lucrezia Rendace
Lighting design: Speirs & Major Associates
Area: 7,370 sqm

It is always difficult to crystallise the image of someone, particularly a person as well known as Giorgio Armani, one of the most famous figures in the world. It is not a coincidence that Andy Warhol portrayed him as a one of the icons of our age.

For the Armani/Ginza Tower, it was considered essential to project not just his creativity as a designer but his special aura, recreating the atmosphere of the atelier of this Italian creative genius, as well as his aesthetic code and his personal image. How to translate these qualities into architecture? How to combine the concept of luxury with restrained elegance, the concept of absolute modernity with a lasting style… the Armani style?

It is in Tokyo that for the first time ever the entirety of his output is to be displayed within the same building. Tokyo, a city alive with continuous movement. The brightly lit buildings pulsate with the vibrant speed of the traffic all around them, creating through a ceaseless flux of brilliant images the expression of a metropolitan spirit. The irresistible appeal of the big oriental capital cities consists in the rapidity and speed of their endless transformations. These are cities that pulsate like living organisms, continually modified to adapt to the needs of new inhabitants. They represent the polar opposite to our own European cities, so dark, secret and suffocated by history.

How to translate the concept of his featherweight clothes, the delicacy and the craftsmanship of his embroidery, the sensuality of the interplay between body and fabric?

His vision and relentless research into materials, together with his use of delicate, translucent and radiant colours are key factors that prompted this consideration.

We explored a host of ideas, we experimented with new textures, modelled, sculpted, emptied, dematerialised spaces using light, the evanescence of an intimate sensation that is, however, born in from the exterior.

We have sought to reveal the world of Armani through a range of screens, as light as gossamer and as precious as silk. The sophisticated image of the Giorgio Armani brand rich in translucence and intimacy is juxtaposed with the immediacy and modernity of the spaces dedicated to Emporio, identified by more expansive areas in which shafts of white light cut through and are reflected within the setting.

But the most important aspect that we wanted to incorporate along the internal pathway between the zones is the element of surprise. To seek to incite emotion is as much the remit of the architect as it is of the designer.

Working with the designer has been an unusual assignment for us, usually it is the building, the external architecture that takes precedence over the content. For the Ginza project the opposite has been true: the exterior is a glass tower, totally merging into the Ginza skyline, its glass surface mirroring and relaying reflections of the sky and the surrounding buildings, full of different lights and colours throughout both day and night. The permeability of the surface is toned down by a cascade of brightly lit leaves that delicately float down the facades and, according to the time of day or the season, are modified in intensity and colour. This has been like working under a microscope, examining every tiny little detail, trying to find the ultimate solution.

Contrary to most other projects where the client is rarely encountered, Giorgio Armani has been deeply involved, always ready to engage with every little adaptation of the concept.
His indefatigable curiosity and collaboration throughout the creative process have shown him to be the ideal client..


Posted by K_Min