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| Source: archdaily.com |
Melnikov House, Moscow, Russia, 1929 designed by Konstantin Melnikov
Located in the rear is the iconic portion of the house with numerous hexagonal windows perforating the façade. Exterior walls finished with white plaster are constructed in a honeycomb latticework using local brick, similar to the method pioneered by Vladimir Shukhov in 1896 using metal. This method employed minimal material while ensuring an efficient and rigid structure. The shapes of the windows are a direct result of the honeycomb structure, with the angles determined by quarter lengths of the standard local bricks. Nearly 60 hexagonal windows employing nine types of frames establish the aesthetic quality of the rear cylinder, showering the interior with light. -- ArchDaily
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| Source: toyo-ito.co.jp |
Mikimoto Ginza2, Tokyo, Japan, 2005 designed by Toyo Ito & Associates
Painted in a subtly sparkling mica-laced pale pink, the four walls are a marvel of engineering. Each comprises two 56 m tall steel sheets; manufactured in sections, welded together on-site, and installed barely 20 cm apart. With concrete poured between, the steel is strong enough to support the 9 stories. --MIMOA
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| Source: SmartPlayhouse, Etsy |
These Children's Playhouses Mimic Contemporary Japanese Architecture
Barcelona-based designer David Lamolla of SmartPlayhouse creates children’s playhouses based on contemporary architecture styles, aiming to create fun spaces for children that are also sculptural elements for the garden. -- ArchDaily
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| Source: archdaily.com |
ABC Museum, Illustration and Design Center, Madrid, Spain designed by Aranguren & Gallegos Architects. Via ArchDaily.
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| Source: Kaido Haagen archdaily.com |
Kindergarten Lotte, Tartu, Estonia, 2008 designed by Kavakava Architects
Prefabricated concrete is used for a walls with triangular windows – great accuracy was needed here because triangular glass panes were inserted directly (without frames) into the concrete wall. -- ArchDaily
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| Source: archdaily.com |
House in JigozenX, Tokyo, Japan, 2009 designed by Suppose Design Office
In this building, the interior and exterior flow together with the existence of what you could call a half-outdoor space.
This space creates a gradation from inside to outside. With a space which is at the same time like a terrace, a veranda, an inside room, and the outdoors, items which normally would be found inside, such as books and paintings, a study or a bath, can actively participate in this middle-ground between interior and exterior. -- ArchDaily
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| Source: Lu Zhigang archdaily.com |
SENSO Convention Center, Binhu, Wuxi, Jiangsu, China, 2010 designed by MINAX
Irregular windows lead the light into the interior, breaking the feeling of order created by metal materials. This brings a brand new visual experience to the workers who spent most of working time in the factory. -- ArchDaily
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| Source: Machné Architekten archdaily.com |
Community Center in Abfaltersbach, Abfaltersbach, Austria, 2011 designed by Machné Architekten
The individual functions are as large “boulders” scattered on the site. By dividing the building into separate areas, it is possible to give each part its optimal form. For example, both the auditorium and music rehearsal rooms are polygonal, for acoustic requirements. -- ArchDaily
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| Source: Philippe Ruault archdaily.com |
Lons le Saunier Mediatheque, Lons-le-Saunier, France, 2012 designed by du Besset-Lyon Architectes
It draws its strength and its strangeness owing to the fact that it maintains an active relationship with its neighbours. Thus, the curvature of its southern façade addresses a direct response to the large slope of the slate covered roof of the church; the curve of its plan constitutes a natural connection between the street of Cordeliers, the new central place and the back of the church. -- ArchDaily
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| Source: Ben McMillan archdaily.com |
Ceramic Museum And Mosaic Park, Jinzhou, Dalian, Liaoning, China, 2012 designed by Casanova + Hernandez Architects
On the one hand, the use of broken local ceramic pieces of different colours for the materialization of the pavement and benches of the park and for the facades of the museum evokes the mosaic tradition that was widespread throughout Europe by the Roman Empire and that has evolved along history till the present day bringing technical solutions such as the trecandís technique used by the Catalan modernist architects.
On the other hand, the geometry of the park is inspired by the crackled glaze of the Chinese porcelain developed from the 10th century during the Song Dynasty in the Ru Ware and Ge Ware ceramic pieces. The Mosaic park and the Ceramic Museum remind citizens that the Jinzhou region was once a production area of ceramic and porcelain, although this tradition was lost for centuries, being nowadays forgotten. -- ArchDaily
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| Source: D’HOUNDT+BAJART Architects & Associates archdaily.com |
Andrée Chedid Media Library, 156 Rue Fin de la Guerre, 59200 Tourcoing, France, 2013 designed by D’HOUNDT+BAJART Architects & Associates
The eastern and western walls will form a set of perforated structures, opening the view to the outside while protecting it from the passer-by’s looks. -- ArchDaily
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| Source: MingFu Weng archdaily.com |
Wat Ananda Metyarama Thai Buddhist Temple, Block 116 HDB Jln Bukit Merah, 116 Jalan Bukit Merah, Singapore, 2014 designed by Czarl Architects
Abstraction of light filtering through the gaps between the leaves of the Boddhi tree are necessarily mapped onto the facade to create an organic random pattern of triangular windows. While seemingly random, the position and size of windows are actually tabulated in relation to the degree for natural lighting as required to by the interior space. -- ArchDaily
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