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The layout of the Guggenheim Museum features a spiral design, allowing visitors to ascend gradually along a sloping ramp until reaching the top floor. The gradually expanding spiral enables natural light to illuminate the exhibits and provides visitors with a continuous and smooth pathway for exploration.

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This streamlined building continuously extends from the ground up, and its curved appearance effectively divides the functional areas of each space in the building while retaining their respective privacy

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The wooden structure lines on the ceiling are arranged in a circular pattern.

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The Guggenheim Museum’s architectural design incorporates a unique spatial hierarchy, guiding visitors through a spiraling exhibition space with varying levels of elevation.

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The building envelope of the Azuma Row House is simple and uniform — a continuous façade with no apertures, except for one small skylight. Apart from its inward –facing glass walls and minimal wood finish, the majority of the envelope is cast concrete. The Interior_ In each room there are four surfaces of exposed concrete. Although the floors are covered with wood slats providing insulation between the foot and slab, there is still conduction of heat energy through the walls.

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Cast in concrete, Ando’s austere and functional design divides the site into three parts – two equally sized enclosed interior volumes flanking an open-air courtyard. Centralizing the courtyard makes it an integral part of circulation and the focus of everyday life. What makes this setup particularly unique is that there is no way to cross to either side of the house without passing through exterior and ultimately confronting nature.

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THE ROW HOUSE OF SUMIYOSHI PROJECT

住吉の長屋, or the “Row House of Sumiyoshi,” was a renovation project of the middle unit of a Japanese traditional “nagaya” style multiplex that connected three small traditional wooden houses. The project was , therefore, sandwiched by two similarly small nagaya houses. The owner asked Ando to demolish the old structure and build and furnish a new home with the budget of only about $100,000. Because of the setting, the project had limited flexibilities, but the owner requested Ando to somehow stay connected with the outside environment.

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The raised platform, open floor plan, ramp, roof terrace, and horizontal windows in the layout showed an integration of circulation, and innovative use of space.

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The Villa Savoye adheres to a modular grid system, with elements such as windows, columns, and structural components aligning with this grid.

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A simple twist in the building volume allows the bridge to lift from the relatively lower forested area towards the south up to the hillside area in the north.

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The long aluminum and wood panels are twisted as in a deck of cards to form a fan shape. The illusion is that you see curves everywhere, but in reality everything is straight.

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Because I'm not a student of architecture, I view the Louvre from a product perspective. I find that the repeated elements in its design actually give it a simple and elegant appearance overall. Additionally, the use of transparent glass adds to its sense of design!

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In addition to the contrast between modern and classical elements, the clean lines and intricate carvings and curves within the exhibition space all showcase the contrast of the case. I believe that the architect I.M. Pei's design, akin to a pyramid-like structure, imbued the Louvre with a strong sense of contrast, solidifying its status in the world of architecture.

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Louvre's pyramid designed by I. M. Pei in 1989

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Louvre's pyramid designed by I. M. Pei in 1989

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Louvre's pyramid designed by I. M. Pei in 1989.

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Louvre's pyramid designed by I. M. Pei in 1989.

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The layout consists of a large glass and metal pyramid surrounded by three smaller pyramids.

The main pyramid functions as the museum’s entrance, while the smaller pyramids serve as skylights for the underground areas.

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The pyramid's symmetrical structure, centered around the apex, creates a solid and balanced architectural form. This design gives the building a sense of dignity and elegance.

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The negative space within the museum is the open, spiraling void that runs through the center of the building.

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Repeating elements can be seen in the rhombus-shaped mesh curtain made of glass and steel.

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The Rolex Learning Center integrates various functional spaces within one vast room. The entire building features a massive curved floor without any obvious beams or pillars for support. Through undulating floor levels and the design of atriums, all functional spaces seamlessly blend with the outdoor landscape of lakes and mountains.

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Located in Jevnaker outside of Oslo, Kistefos’ new 1,000m² contemporary art institution doubles as infrastructure to connect two forested riverbanks, completing the cultural route through northern Europe’s largest sculpture park. BIG's proposal for an art bridge was selected in 2011 and has been developed in collaboration with Element Arkitekter, AKT II, Rambøll, Bladt Industries, Max Fordham and Davis Langdon.

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The Twist represents a new challenge for the exhibiting artists and artworks to engage with, and I am particularly excited to see how the work of two artists – Hodgkin and Creed, a visual artist and a performance artist – has turned this spatial problem into a great potential!”

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The spiral path starts from the top to the bottom and goes in transparent way without any wall or barrier.While you are standing inside the hall you’ll find out that the spiral path creates a beauty of repetition.

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Shown through the numerous columns in this structure, and the consistent use of the same windows in the facade.

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The contrast material between the concrete and glass.

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The flow of the ramp creates a repetition of space.

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The flow of the building create a space which leads to create a visual allignment to other side of the building.

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During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of semi-reflective glass gives tantalizing glimpses within. At night, this character is gradually transformed by means of lighting that washes from the interior onto the exterior surfaces, maintaining the fluidity between interior and exterior as well.

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The huge glass curtain wall can bring sufficient natural light to the interior. The pure white building surface overlaps with the sunlight, making the building look like a luminous gem; and a series of ramps also connect various indoor spaces to form continuous traffic.

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This streamlined building continuously extends from the ground up, and its curved appearance effectively divides the functional areas of each space in the building while retaining their respective privacy.

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Rolex Center was designed by Ryue Nishizawa and Kazuyo Sejima back in 2010

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Repeating elements can be seen in the rhombus-shaped mesh curtain made of glass and steel.

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Villa Savoye, by Le Corbusier and Pierre Jeanneret, is a famed modernist villa near Paris. Built from 1929 to 1931, it epitomizes Le Corbusier's "Five Points of Architecture." The design emphasizes functionality, open spaces, and a rejection of ornamentation, influencing modern architectural principles globally.

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With the slope as the center, although the objects on both sides differ in form, function, and size, the master uses methods such as replicating small objects and linear classification to balance the layout.

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one of it’s characterized layout of the building was its unique cantilevered structure design.

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The building facade shows the contrast of using two different material : fir slats and glass.

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the stone texture of this structure balance the building with nature (the waterfall).

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The layout of the building show repetition of cuboids overlapping in horizontal and vertical

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The interior has been used for functional duties, and it creates a lot of negative spaces.

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The massing and the structure is visually balanced.

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The site and the overlook of Seattle Central Library makes a strong contrast. The facade of the building is very special.

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The building’s facade show the contrast of two different colors and materials: gray stone and white concrete .

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• Solomon R. Guggenheim Museum of Modern Art, New York City, NY. 1959

• 16 year project designed by American architect Frank Lloyd Wright

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Hydar Aliyev Centre Was design by Zaha Hadid in 2013.

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Hydar Aliyev Centre Was design by Zaha Hadid in 2013.

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Seattle Library was designed by Rem Koolhaas in 2004.

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It built in the natural environments,directly standing on the riverbed of a waterfall integrating with natural.

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Falling water is designed by Frank Lloyd in 1939.

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韓敏菁，沈山棋，范峻淇，范庭瑄

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韓敏菁，沈山棋，范峻淇，范庭瑄

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邱郁雯 柯采妤 鄭安倢 陳姿妤

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邱郁雯 柯采妤 鄭安倢 陳姿妤

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張善傑 王柏爲 張君慈 朱彥安

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張善傑 王柏爲 張君慈 朱彥安

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陳彥謀 漢晏苓 侯佳妤 廖秉楹

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陳彥謀 漢晏苓 侯佳妤 廖秉楹

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吳依庭， 鄭美娣，Cath，林奕佑

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吳依庭， 鄭美娣，Cath，林奕佑

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許正憲 鄧昕 梁荺庭 馮心榆

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許正憲 鄧昕 梁荺庭 馮心榆

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黃鳳湞、劉冠妤、楊富晴、羅真

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黃鳳湞、劉冠妤、楊富晴、羅真

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莊子霓 蔡頌雅 葉芷安 林宴煣

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莊子霓 蔡頌雅 葉芷安 林宴煣

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Salk Institute was designed by Luis Kahn in 1965. (background introduction)

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Salk Institute was designed by Luis Kahn in 1965. (background introduction)

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The opening of building facade create a repetition of lighting shining through the hallway.

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The circulation within the building allows the users to experience the negative space formed by the structure around.

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The building facade shows the contrast of using two different materials: wood and concrete.

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The small river run through the courtyard creates a visual alignment with pacific ocean and sky at the end.