Skin of Architecture: Cuts

Source: Mal Booth archdaily.com

Jewish Museum, Berlin, Germany, 1999 designed by Daniel Libeskind

The interior is composed of reinforced concrete which reinforces the moments of the empty spaces and dead ends where only a sliver of light is entering the space.-- ArchDaily

Source: predock.com

Gateway Center and Plaza, University of Minnesota, Minneapolis, Minnesota, USA, 2000 designed by Antoine Predock

The design for the center invites visitors to the campus through the embodiment of Minnesota images ­ambiguously evoking a rock face or the iconic huddle of the Minnesota farmstead. The structure consists of three distinct forms: the large glass, granite and wood memorial hall which is adjacent to a sloping copper structure nestled against the regulating office block at the north. -- architect's web site

Source: daniel-libeskind.com

The Wohl Centre, Ramat-Gan, Israel, 2005 designed by Daniel Libeskind

The concept for the Wohl Centre, "Voices and Echoes", symbolizes the two essential components of the Bar-Ilan University: the secular and the sacred. Apparent in the form of the building is the interrelation between the dynamics of knowledge and the unifying role of faith.  -- architect's web site

Source: daniel-libeskind.com

Royal Ontario Museum, Toronto, Canada, 2007 designed by Daniel Libeskind

The Extension to the Royal Ontario Museum (ROM), now called the Michael Lee-Chin Crystal is situated at one of the most prominent intersections in downtown Toronto.

....derives its name from the building’s five intersecting volumes, which are reminiscent of crystals. -- architect's web site

Source: daniel-libeskind.com

The Run Run Shaw Creative Media Centre, Hong Kong, China, 2010 designed by Daniel Libeskind

The distinctive crystalline design forms an extraordinary range of spaces rich in form, light, and material that, together, create an interactive environment for research and creativity.

Each space, whether self-contained or open, is a unique shape. Many of the walls slope or slice through space. Asymmetrical windows cut into the walls of interior lecture halls, classrooms and computer labs.  -- architect's web site

Source: Alexey Naroditskiy archdaily.com

Vershina Trade and Entertainment Center, Surgut, Russia, 2010 designed by Erick van Egeraat

The primary cuts in the facade divide this basic mass into “sharp volumes” that allow daylight in, and radiate artificial light out at night.  -- ArchDaily

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Source: Cemal Emden archdaily.com

Tripoli Congress Center, Tripoli, Libya, 2010 designed by Tabanlioglu Architects

Surrounded by the woods, the rectangular two-storey ‘block’ is nested in a semi-transparent metal envelop as a “shield” that opens up to the external landscape with a wide portico that defines the main entrance. Between the mesh and the inner glass walls a semi-open shady circulation area is created as an extension of the landscape. Incise patterns inspired by the trees around the site, permit controlled daylight to diffuse into the central space and at night , When the building interior is lighted, the oozing beams through the slits integrate with the wood at the background. -- ArchDaily

Source: Oddleiv Apneseth archdaily.com

Sogn & Fjordane Art Museum, Førde, Norway, 2012 designed by C.F. Møller Architects

The crystalline form provides an asymmetrical plan solution, with varying displacements in the facade. The facade is clad in white glass with a network of angled lines, reminiscent of the fracture lines in ice. This network also defines the irregular window apertures. In the evening these lines are illuminated, so that the museum lies like a sparkling block in the middle of the town’s darkness. -- ArchDaily

Source: Harunori Noda  World Building Directory

Jimbocho Teather Building, Chiyoda-ku, Tokyo, Japan designed by Nikken Sekkei Ltd.

The multi-sided form that emerged from the Sky Factor gave the shape a power, a toughness of what the town holds, as if to diffuse the convergence shape and the déjàvu the setback regulation has created. -- World Building Directory

Source: Holzer Kobler Architekturen archdaily.com

PALÄON, Schöningen, Germany, 2013 designed by Holzer Kobler Architekturen

Sharp, large- formatted cuts into the building façade offer wide-reaching and fascinating views to the place where the spears were discovered, the pit of the brown coal mine, the nearby forest, and the Przewalski horses grazing in the meadows. The expressive openings cut into the building like spears in the skin of the horses and reflect this dynamic in the form language. The abstract cuts into the building also formally react to the neighboring traces of opencut mining. The resulting expressive architecture mediates between manmade and natural landscape and forms an emblem for the place. -- ArchDaily

Source: Stéphane Brugger archdaily.com

Allez UP Rock Climbing Gym, Rue Saint-Patrick, Montreal, QC, Canada, 2013 designed by Smith Vigeant Architectes 

The siding and outer metallic building envelope pay tribute to the industrial and monolithic character of this site, while the massive windows gaze far out onto St-Patrick Street. In long shafts, abundant natural light saturates the space, creating an effect of crevasses and voids on the climbing walls and revealing the interior climbing surfaces – a truly colourful heart at the centre of a metallic exterior. -- ArchDaily