The Grace Farms building, designed by SANAA nestles itself nicely into its context, offering various programmes for the community- all playfully placed under a long sinous roof.
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Parrish Art Museum. Herzog & de Meuron
Water Mill, NY
photos: Jian Yong Khoo
Parrish Art Museum, designed by Herzog & de Meuron sits in isolation among the meadows – its crisp simple form stands in contrast to the surrounding natural landscape.
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The Rolex Learning Centre sprawls itself across a vast expanse of the EPFL campus, its striking undulations reminiscent of the nearby alps. The interior is a visual delight where artificial hills and valleys replace traditional partitions – prompting different kinds of occupation and spatial interactions.
“The mind loves the unknown. It loves images whose meaning is unknown, since the meaning of the mind itself is unknown.” – René Magritte
Architecture is the embodiment of the arts and sciences, a complex combination which results in an ambiguous whole. What once was just a means of shelter, has evolved into a means of which to communicate and express the ever evolving necessities of contemporary society. The demands of the people coupled with the zeitgeist of the period, more often than not, precipitate a prevailing architectural style, one with which the architects of the period rally to. Two centuries apart, Étienne-Louis Boullée and Louis Kahn, through their tireless re-examination of the discipline, have established profound ideologies on the nature of architecture, which remarkably allude to common principles.
Architecture is art, and in art lies its completeness. In Central Saint Martins College of Art and Design, designed by Stanton Williams Architects, the two disciplines work one in function to the other. The building is like a Rubik’s cube in which all faces have the same colour: the solutions are endless and they all work.