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| Source: archdaily.com |
Rusakov Workers’ Club, Moscow, Russia, 1928 designed by Konstantin Melnikov
The collapse of the old regime in Russia that took place with the Revolution of 1917 was followed by an artistic period of powerful activity in formal experimentation directed at the establishment of a creative language capable of expressing the new ideals and aspirations of Soviet Society. Konstantin Melnikov’s Rusakov Workers’ Club in Moscow shows an intense fascination with dramatic structure, in this case through bold cantilevered seating constructed of reinforced concrete. -- ArchDaily
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| Source: archdaily.com |
Everson Museum, Syracuse, New York, USA, 1968 designed by I.M. Pei
gallery space was fragmented into four large boxes interconnected around an atrium sculpture court, each box with a different volume and ceiling height to accept the variety of objects to come.
The four cantilevered boxes rise up from a 5-foot podium which houses museum services and other spaces designed for public access after the main galleries are closed. -- architect's web site
Read a post from ArchDaily
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| Source: Te-Ming Chang |
Institute of Contemporary Art(ICA), Boston, USA, 2006 designed by Diller Scofidio + Renfro
The ICA rises like a giant periscope, its lens hovering tantalizingly at the brink. Engaging the water is so key to the scheme that the structure’s landside—its main approach—almost feels like its rear. -- Architectural Record
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| Source: archdaily.com |
University College Ostfold Halden, Remmen in Halden, Norway, 2006 designed by Reiulf Ramstad Architects
The design is based on simple geometrical prisms, lines and slabs composed into a complex lay-out of rooms and functions. Critical functions and lines of communication are emphasised and the building expresses a balance of functional efficiency and open perspectives. -- ArchDaily
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| Source: archdaily.com |
Petter Dass Museum, Alstahaug, Norway, 2007 designed by Snøhetta
The granite walls frame the glass-enclosed ground floor, which is level with that of the medieval church. There is no disputing the hovering, dynamic quality of the museum’s curving form; its zinc-sheathed, steel-framed upper level cantilevers out 23 feet at front and back, arching upward to a height of 32 feet above grade, in resonance with the curvature of ridge terrain, but clearly rising above it. -- Architectural Record.
Read a post from ArchDaily
Danilovskiy Fort, Moscow, Russia, 2008 designed by Sergey Skuratov Architects
The business center is composed of three different storied vertically oriented volumes based on single story flat ground floor. Clear and rational layout idea is softened by complicated plastic forms of facades. Active rhythm of differently sized windows that accrues and fades relieves from standard boredom and monotony so inherent to architecture of all business centers. -- ArchDaily
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| Source; archdaily.com |
Museum Liaunig, Neuhaus, Carinthia, Austria, 2008 designed by Querkraft
The museum liaunig projects out on two sides over steep-sided ground, high up in the landscape. A cut through the hill marks a precise intervention in nature.
Planted into the site the new museum emerges more like a work of landart. Only a small part of the outstretched museum building is visible.
Cut through the hill, the main body of the museum slices through a densely-wooded, steep-sided embankment, providing an unparalleled view over the river drau seventy meters below. -- ArchDailyAnother article from Architectural Record.
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| Source: archdaily.com |
De Oostvaarders, Alemere, The Netherlands, 2009 designed by Drost + van Veen architecten
In order to minimize a disruption in the surrounding natural environment, the buildingtime was reduced to a minimum. Therefore, the building is constructed in prefab, massive, wooden walls and floors. The LenoTec walls are fabricated in Finnland. The use of these prefabricated elements made an eight meter overhang over the lake possible. In addition, wood is a light material with a high isolation. The natural expression of this material remains visible in the interior, like in a wooden cottage. -- ArchDaily
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| Source: archdaily.com |
Pitagora Museum, Crotone, Italy, 2011 designed by OBR
The architecture of the museum sought to create a new landscape morphologically rooted to the ground, through a partially hypo-epigean space that integrates the museum into the mountain through continuous coverage with the existing topography, underlining the profile of the hill.-- ArchDaily
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| Source: Chen Su archdaily.com |
Huludao Beach Exhibit Center, Huludao, Liaoning, China, 2011 designed by META – Project
Experiencing the sea horizon from multiple levels becomes the buibing’s own demand, such concept is deducted to a key section: to float the front 2/3 of the building – creating a cantilevered floor for the “stage” to catch more public attention, at the same time offering a covered space for outdoor event; and additionally, a roof-top viewing deck opening to the entire surroundings. -- ArchDaily
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| Source: Werner Huthmacher archdaily.com |
Celtic Museum, Glauburg, Germany, 2011 designed by kadawittfeldarchitektur
The Celtic Museum is a clearly contoured and distinct volume, blending in with the surrounding landscape. Partly inserted into the slope, it projects itself towards the burial mound. Its vital function as an element of the landscape, the museum building amplifies the burial mound’s leading role. Underneath the main volume, one finds the foyer and the café and adjoining rooms as well. Here begins and ends the exploration of the museum’s archaeological trail. -- ArchDaily
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| Source: archdaily.com |
Museum of Liverpool, Liverpool, UK, 2011 designed by 3XN
The result is a dynamic low-rise structure which enters into a respectful dialogue with the harbour promenade’s taller historical buildings. This interaction facilitates a modern and lively urban space. The design is reminiscent of the trading ships which at one time dominated the harbour, while the façade’s relief pattern puts forward a new interpretation of the historical architectural detail in the ‘Three Graces.’ The enormous gabled windows open up towards the City and the Harbour, and therefore symbolically draw history into the Museum, while at the same time allow the curious to look in. -- ArchDaily
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| Source: archdaily.com |
New Cultural Centre, Madrid, Spain, 2011 designed by FÜNDC
The project has a couple of unprecedented design solutions such as ‘mega-tree-pots’ and a transformable hall. The pots allow for the growth of medium-large trees above underground parking, making possible green areas where usually just hard squares are found. The hall allows for an use modification on the cultural building program, as it can switch between exhibition promenade and auditorium mode, through the manipulation of movable floor decks. -- ArchDaily
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| Source: Matthew Carbone archdaily.com |
Milstein Hall at Cornell University, Ithaca, New York, USA, 2011 designed by OMA
Read an article from Architectural RecordFeaturing a unique hybrid truss system of 1,200 tons of steel to support two dramatic cantilevers Milstein Hall provides a must needed connection between the existing Sibley and Rand Hall. Professor Mark Cruvellier shared -- ArchDaily
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| Source: Jose Campos archdaily.com |
International Centre for the Arts Jose de Guimarães, Guimarães, Portugal, 2012 designed by Pitagoras Arquitectos
The new building takes a radically different language, by contrast with its surroundings, both from the standpoint of their language and image, discrete, repetitive, as well as by the succession of volumes, with full and empty, marked by the juxtaposition of contrasting surfaces. This series of volumes and dissonant elements, which result from decomposition of the initial volume, was originated by the need to create a variety of different spaces in the exhibition area, creating a tension evident in the volume of the building and the relationship with the space of the square, making it the main feature of its design. -- ArchDaily
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| Source: Masao Nishikawa archdaily.com |
ChangSha Vanke Club House, Changsha, Hunan, China, 2013 designed by Tsushima Design Studio
....a clean box looming atop the green hill by XiangJiang, gleaming at night to guide the walker-by. -- ArchDaily
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