To stay viable after the opening of the tunnel between England and the continent, the ferry companies operating across the channel propose to make the crossing more exciting. Not only would the boats turn into floating entertainment worlds, but their destinations - the terminals - would shed their utilitarian character and become attractions.

Building
The building crosses a sphere with a cone.
The two lowest floors organize traffic to and from the ferries with maximum efficiency; four ships can load and unload simultaneously without interrupting traffic flow.
A bus station is projected above this sorting machine; pedestrian acces is through a separate external loop. Above, two floors of parking wind in an ascending spiral culminating in a great public hall, where the panorama of sea and land is revealed for the first time.
Then the cone splits into vertical segments: a wedge of offices divides the sphere into hotel and promotional sections. The void between these two parts offers an upward view to the sky and a downward view, through a glass floor, to the depths of the parking garage.
The entire building is capped by a glass dome. Under the dome, the two halves are connected by ramps and bridges. The hotel roof accommodates the ulitmate "North Sea Casino”; an amphitheater that slopes down toward the sea can be used as a conference center.

Sign
How to inject a new 'sign’ into a landscape that - through scale and atmosphere alone - renders any object both arbitrary and inevitable?
To become a landmark, this project adopts a form that resists easy classification to free-associate with successive moods- the mechanical, the industrial, the utilitarian, the abstract, the poetic, the surreal. It combines maximum artistry with maximum efficiency.

Site
Parallel to the dike, the site is divided into incoming and outgoing bands. Waiting cars assemble in an S around a circular playground and a drive-in restaurant.
Building
The building crosses a sphere with a cone.
The two lowest floors organize traffic to and from the ferries with maximum efficiency; four ships can load and unload simultaneously without interrupting traffic flow.

A bus station is projected above this sorting machine; pedestrian acces is through a separate external loop. Above, two floors of parking wind in an ascending spiral culminating in a great public hall, where the panorama of sea and land is revealed for the first time.

Then the cone splits into vertical segments: a wedge of offices divides the sphere into hotel and promotional sections. The void between these two parts offers an upward view to the sky and a downward view, through a glass floor, to the depths of the parking garage.

The entire building is capped by a glass dome. Under the dome, the two halves are connected by ramps and bridges. The hotel roof accommodates the ulitmate "North Sea Casino”; an amphitheater that slopes down toward the sea can be used as a conference center.


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Fuente: OMA

Construction on Museum Plaza is expected to start in  early 2007 amd be completed in 2010.

 

A city within a city, Museum Plaza is a place to showcase contemporary art, curb suburban sprawl by drawin residents to downtown, and strengthen Louisville’s West Main Street Historic District. When complete, it will encompass some 1.5 million square feet of multi-purpose space in multiple towers, the tallest reaching 61 stories. Shaped
by a desire to serve and challenge the city it embraces, the iconic architecture blends residential, retail, office, education, and leisure activities into a fascinating urban neighborhood.  And it will fund and sustain a center for contemporary art unprecedented in the region.

The Sales & Design Center is located at 707 W. Main Street in Louisville.  It is open Monday through Friday from 10am to 6pm and by appointment on the weekends. 

Museum Plaza will be constructed on Seventh Street, between River Road and Main Street, on part of the old Kingfish restaurant site. The city owns the land and is giving it to the Museum Plaza developers.


Some people will be enamored of Museum Plaza's design, Abramson predicted, while others will question it.
The building will be the first skyscraper built in Louisville since the 35-story Capitol Holding Center, now called the Aegon Tower, opened in 1993. It likely will evoke strong opinions, Abramson said -- as did the Humana Building when its design was unveiled in 1982.
The mayor acknowledged that, when he first saw Museum Plaza's design in mid-December, he wasn't sure how to react.


Source: Courier-Journal

 


Unlike the traditional high-rise building, the design for the Ras al Khaimah Convention and Exhibition Centre accommodates all primary functions, such as the convention centre, hotel rooms, apartments, offices and retail space in a giant sphere.

A low-rise building adjacent to the sphere `hovers` above the ground beside the
exhibtion centre, retail and additional hotel rooms.
Access to the new buildings is provided by a new road system linking it to the
city creating a direct connection between the new buildings and the exisiting
urban structure.
What is left to be invented when it comes to the creation of a landmark?
So far the 21st century – in a desperate effort to differentiate one building
from the next – has been characterized by a manic production of extravagant
shapes. Paradoxically, the result is a surprisingly monotonous urban substance,
where any attempt at ‘difference’ is instantly neutralized in a sea of
meaningless architectural gestures.
RAK is confronted with an important choice: Does it join so many others in this
mad, futile race or does it become the first to offer a new credibility?
This project represents a final attempt at distinction through architecture:not
through the creation of the next bizarre image, but through a return to pure
form.
Invented long ago, both the sphere and the bar explicitly abandon claims to
formal invention or "originality".
Yet both geometries still continue to feed the architectural imagination: perfectly autonomous shapes, within their bounds the promise of a perfect world – made possible only by the seamless integration of engineering.
In spite of their apparent simplicity the sphere and the bar could come to
represent a milestone in the construction of the new RAK and provide it with a
powerful universal symbol: Western and Eastern, futuristic and primordial, contemporary and timeless.












Source: OMA

Frank Gehry    Serpentine Gallery 2008

The famous North American architect 79-year-old Frank Gehry, has designed the close provisional pavilion of the gallery Serpentine, in plenary session London Hyde Park.
The structure designed by Gehry in collaboration with the company of engineering Arup, it is clear of numerous plates of wood and of crystal that they form different angles and they believe a multidimensional space in appearance chaotic.

Gehry, author of the museum Guggenheim of Bilbao and the Room of Concerts Walt Disney of Los Angeles between other emblematic buildings, says of its London pavilion that " it is like an urban street " that it goes from the park up to the gallery.

Between the architects who have designed in the previous years the provisional pavilion of the Serpentine, which only is kept in foot a few months, there appear Álvaro Siza,  Rem Koolhaas, Zaha Hadid, Oscar Niemeyer, Toyo Ito and Daniel Libeskind:

-  Álvaro Siza:

Year 2005

- Rem Koolhaas (2006):



- Zaha Hadid (2007):



- Oscar Niemeyer (2003):



Source: La Tercera

Differently from the personal experience of the Japanese onsen or the sacred meaning in the Incan baths, the Roman baths or Thermae were places for social exchange and leisure.
The Baths of Caracalla were built between 212 and 217 AD. This big complex covered approximately 13 hectares and included several facilities such as libraries, stadium and gardens.
The scale of the building was monumental. The entire north wall of the complex was devoted to shops.The baths offered different temperature rooms: cold room (Frigidarium) with a huge pool (natatio), warm pools (Tepidarim), and hot rooms (Caldarium). There were two gyms or palestras and dressrooms. The libraries were located in exedrae on the east and west sides of the bath complex.
The water was provided by the Marcian Aqueduct through a smaller cannal called Aqua Antoniana. In the basement there was a complex network of tunnels, in order to conduct the pipes for water supply, sewage and wood.









At present, beside being a tourist important attraction, the thermal baths in the last decades are an incomparable scene(stage) for cultural, theatrical and musical representations.


SPANISH: LAS TERMAS DE CARACALLA

Este complejo fue iniciado por el emperador Septimo Severo en 206 D.C y completado por Caracalla entre 212-217 DC. Posteriormente, otros emperadores como Elagábalo y Alessandro Severo complementaron la obra o la refaccionaron. El edificio fue destruído por un terremoto en 847, aunque ya desde 537 no podía ser usado ya que los canales de agua fueron destruídos por una guerra.
El conjunto ocupa una extensión de trece hectáreas y se ubica al inicio de la Vía Apia. El edificio principal tenía doscientos veintiocho metros de largo por ciento sesenta y seis metros de ancho y treinta y ocho punto cinco metros de alto.
Además de los baños, incluía espacios de reunión, bibliotecas y hasta un pequeño estadio, pudiendo albergar hasta mil setecientos  bañistas.
El recinto se hallaba definido por un cerco cuadrangular. El diseño, como en muchos otros casos en la arquitectura romana, seguía un patrón simétrico.

En el noreste se ubicaba el ingreso principal, flanquado por pórticos en dos niveles que contenían locales comeciales. Tras atravesar los pórticos de ingreso, se encontraban breves jardines que precedían al cuerpo central. Tras el ingreso se llegaba a los vestuarios (apodytera), donde el usuario luego de despojarse de su ropas las dejaba en un estante. Posteriormente hacía ejercicio en el gimnasio (palestra) o recibía un masaje en alguno de los cuartos conexos. Las termas contaban con tres tipos de baños: fríos, calientes y tibios.
En la parte anterior se hallaba el Frigidarium, un gran salón conteniendo los baños fríos y que tenía una enorme piscina descubierta o natatio. En medio del edificio se hallaba el Tepidarium, que eran los baños tibios. Posteriormente iba al Calidarium, una especie de baños sauna, cuyas paredes eran calentadas a través de tubos huecos de terracota y cuya figura cilíndrica cubierta por una cúpula dominaba la parte posterior del conjunto.
A los costados se encontraban dos grandes salientes semicirculares que conformaban las bibliotecas. Al fondo, se ubicaba el estadio que sólo tenía graderías por un lado, escondiendo tras sí las enormes cisternas.



El diseño paisajista era notable, los jardines rodeaban al edificio siguiendo patrones geométricos e incluyendo estatuas, fuentes y lugares de reunión y conversación.





El interior de las termas era magnífico. La piscina o natatio era descubierta y decorada con cuatro columnas de granito. Existían tambien grandes espejos de bronce para reflejar la luz solar. Las paredes tenían recubrimientos de mármol o estaban decoradas con frescos y cientos de estatuas se ubicaban en nichos en varios niveles.



En la actualidad, además de ser un atractivo turístico importante, las termas en las últimas décadas son un escenario incomparable para representaciones culturales, teatrales y musicales.

A striking new building for Southwark Street designed by Zaha Hadid has been granted planning permission by Southwark Council.

                                                                                          

The Architecture Foundation's new architecture centre will be located on the corner of Southwark Street and Great Guildford Street as part of Land Securities' Bankside 123 development.
"I am absolutely delighted that the designs for the new Architecture Foundation headquarters have secured planning permission," says Zaha Hadid.
"The centre will be my first public building in London and is therefore an especially important project for my practice."
Scheduled to open in autumn 2008, the design of the landmark building has evolved since Hadid won the international design competition run by Land Securities in January 2005.
The Architecture Foundation will be organised over four levels united by a vertical glass-walled space. It will provide exhibition space on the ground, mezzanine and first floors, an events space on the first floor, and offices and a boardroom on the top floor. There is also provision for a café/bar on the ground floor.
The new home for British architecture will double as the charity's headquarters and a purpose built public venue for exhibitions and events on architecture.



Source: london se community website

It is a futurist pavilion that will cross the world to spread contemporary art. Zaha Hadid has designed a species of white abstract bag, of a material inflable, Chanel Contemporary called Art Container and it will cross the world spreading works of art between 2008 and 2010.



The Pavilion is in its purer geometric form, the fundamental one of space of exhibition. Producing a distortion that derives in a constant variety of exhibition about its circumference, whereas in its center, a great court of 65 m2 with natural light provides a space for the visitors of knowing and to think it brings over of the exhibition.

Occupying a total area of 700 m2, the pavilion measures 29 m. X 45 m., with a central court and big transparent openings that are opened for the sky and arranged so much to shelter events, since to provide an area of rest. Being used also as an intermediate space between the exhibition and the public area of the Pavilion.



The form of the work is an honoring to the work  of Chanel, the consistent structure derives from an original, elegant, functional, and versatile inspiration, in its total structure since  in the detail. They are a series of continuous elements in the shape of arches, the glazed roof gets accommodated to control the interior temperature opposite to the climatic conditions of every city and contributes in the creation of a new environment to facilities of art.

Spanish:

Es un pabellón futurista que recorrerá el mundo para difundir arte contemporáneo. Zaha Hadid ha diseñado una especie de bolsa blanca abstracta, de un material inflable, denominado Chanel Contemporary Art Container y recorrerá el mundo difundiendo obras de arte entre el 2008 y el 2010.

El Pabellón es en su más pura forma geométrica, es fundamentalmente, un espacio de exposición. Produciendo una constante variedad de exposición alrededor de su circunferencia; al mismo tiempo que en su centro, un gran patio de sesenta y cinco metros cuadrados, con luz natural proporciona un espacio para los visitantes para pensar y reflexionar acerca de la exposición.

Con una ocupación de un área total de setecientos metros cuadrados, el pabellón mide veintinueve metros por  cuarenta y cinco metros; contando con un patio central y grandes aberturas transparentes hacia el cielo; y dispuesto tanto para albergar acontecimientos, como para proporcionar un área de descanso. También se emplea como un espacio intermedio entre la exposición y el área pública del Pabellón.

La forma de la obra es un homenaje al trabajo icónico de Chanel; pero la estructura consecuente deriva de una inspiración original, elegante, funcional, y versátil, tanto en su estructura total como en el detalle. Se trata de una serie de continuos elementos en forma de arcos, el techo vidriado se acomoda para controlar la temperatura interior frente a las condiciones climáticas de cada ciudad y contribuye en la creación de un nuevo entorno para instalaciones de arte.

Fuente: chanel-mobileart.com

They've got amazing hotels, artificial islands, even an indoor ski mountain. And now, to add to the list, Dubai will become home to largest arch bridge in world when the constructions of this monster is finished in 2012.



What with all the already unbelievable structures they have over there in Dubai, it always seems like the perfect time to visit. Then they announce another new, awe-inspiring project that makes you think.  Well, considering the conceptual renderings for this bridge, it probably is better to wait until it's finished. The specs make it sound well worth it:
- It's one mile long and 670 feel tall.
- It will have 12 lanes for traffic.
- It will cost $817 million dollars.
- The design has been approved by Sheik Mohammed.
- The bridge will carry more than 2,000 vehicles per hour in each direction.
- A metro line will run across the middle.



Impressive, no? Construction will hopefully be completed in 2012.

                                             

All images and facts provided by Fxfowle, the New York based architectural firm behind the project

Source: Inventor spot


Dubai tendrá el puente en arco más largo del mundo

Dubai es una gran ciudad en medio del desierto, con impresionantes construcciones, islas artificiales, hoteles, centros comerciales, parques de diversiones y pista para esquiar. Tienen de todo, pero por supuesto, no podían quedarse atrás, y por esta razón planean construir el puente de arco más grande del planeta.
La oficina FX FOWLE, colaboradora de Renzo Piano en el edificio del New York Times, se adjudicó el concurso para este nuevo puente en Dubai, el sexto atravieso que conecta ambos lados de la ciudad sobre el canal Dubai, sumándose a cuatro puentes y un túnel.

El puente tendrá un largo de uno con siete kilómetros y un alto de doscientos cuatro metros. Su costó es de ochocientos diecisiete millones de dólares y su construcción se inició en marzo de este año, por lo que debiera estar listo para el 2012.
El puente tendrá seis pistas por lados, lo que permitirá conducir dos mil vehículos por hora en cada dirección. Además, incluye una línea de metro por el centro.

El fenómeno del Golfo sigue presentando mega proyectos increíbles durante estos ultimos años, fenómeno que empezó a gestarse hace cincuenta años y que alcanza su peak en Dubai.
Canal de Dubai, separa la ciudad en dos. El puente pasaría a ser el sexto atravieso sobre el canal, sumándose a cuatro puentes y un túnel.

Fuente: inventorspot.com

“With its situation on the right bank of the river, where the Rhine forms the outer border of a large district of the city, the Museum creates a new order within a rather questionable urban design alongside the highway. The rectangular museum occupies the entire eastern part of the Solitude Park. The four sides of the building each relate in a specific manner to the surrounding spaces.” (Mario Botta, Architect).
                                                                                                                  


                      Tinguely Museum   -   Interior

Con este museo situado sobre el Rhine y rodeado de los ancestrales pinos del parque Solitude, en Basilea, el arquitecto Mario Botta ha creado un inusual albergue para el trabajo de Jean Tinguely donde invita al visitante a disfrutar del arte, caminar y relajarse.

Source: arquinews.com

Next April 12 one will place the first stone of the Cultural International Center Óscar Niemeyer [CCION], - large mask of prow - of this ambitious plan that must turn the environment of it laughs at Native of Avila, very degraded till now, in one of the major cultural centers of Europe.
Still it is known to how much it will promote the global investment of this project, which his persons in charge calculate that it can be finished in twelve years.

The works of the CCION will extend, in principle, sixteen months. This cultural space projected by the prestigious architect Niemeyer  will be, then, raised at the end of the year 2009. The budget of the works of the museum overcomes the 40 million Euros.

With a total surface of 572.000 square meters, in this " island of the innovation ", which is artificial and has form of fish, they will place, besides the CCION, other enclosures: offices, hotels, places of leisure and commercial, apartments, lofts, explanatory spaces and of congresses, and so on.

The mayor of Native of Avila, Pilar Varela, assured yesterday that this project " it is a great opportunity " for a city " that he has suffered as nobody the industrial crisis ". And it aimed that " the culture and the innovation " will be the axes(axles) of this urban revolution.

Terminal of cruises Other two basic props of this project are the new sports port, which will shelter a terminus of cruises, and Native's of Avila door, an urban axis in the shape of boulevard that will pass close to the Park of the Equipments, a great green zone. The future intermodal station also will be placed close to this space.

Source: Público.es


'La isla de la innovación',  comenzará a construirse en dos semanas.

El proyecto urbanístico y cultural que transformará la ciudad asturiana de Avilés, “La isla de la innovación”,  tiene fecha de inicio. El 12 de abril se colocará la primera piedra del Centro Cultural Internacional Óscar Niemeyer (CCION), el "mascarón de proa" de este ambicioso plan que debe convertir el entorno de la ría de Avilés, muy degradado hasta ahora, en uno de los mayores centros culturales de Europa.

Aún se desconoce a cuánto ascenderá la inversión global de este proyecto. Sus responsables calculan que puede estar finalizado en doce años.
Las obras del CCION se prolongarán, en principio, dieciséis meses, por lo que  este espacio cultural proyectado por el arquitecto Niemeyer, estará  levantado a finales del año 2009. El presupuesto de las obras del museo supera los cuarenta millones de euros.

Con una superficie total de quinientos setenta y dos mil metros cuadrados, en esta "isla de la innovación", que artificial y tiene forma de pez, se situarán, además del CCION, otros recintos: oficinas, hoteles, locales de ocio y comerciales, apartamentos, lofts, espacios expositivos y de congresos por citar algunos.

Terminal de cruceros
Los otros dos pilares básicos de este proyecto son el nuevo puerto deportivo, que albergará una terminal de cruceros, y la Puerta de Avilés, un eje urbano en forma de bulevar que transcurrirá junto al Parque de los Equipamientos, una gran zona verde. La futura estación intermodal también estará situada junto a este espacio.

Fuente: Público.es

In 2002 OMA won the competition to design a new congress center located on the Miraflores Peninsula, facing the historic city center of Cordoba, Spain. Wishing to improve on the possibilities of the original building site, OMA proposed a new and unexpected location on the peninsula.

Linear CCCity
Taking full advantage of the potential site the project transforms the East-West strip across the Miraflores peninsula into a linear volume that acts as promenade, mall, and mixing chamber - a takeoff point for the Cordoba Experience. 
First, the site is thickened into a long block that marks the threshold of the Miraflores neighborhood and defines a southern edge for the planned fluvial park. A horizontal slice through the slab allows the necessary activities - congress center, auditorium, retail, hotel - to be contained along a continuous trajectory running the full length of the building. The transparency of this middle zone establishes the building as a linear viewing platform, looking out over the park, the river and the historic center beyond. Above and below ancillary functions are consolidated in the slabs that profile.

Functioning as a programmatic sandwich, the upper lower layers fold or converge to respond to different interior/exterior pressures along its length: separating to accommodate the conference hall and auditorium; converging to define the hotel lobby; lifting to allow Miraflores Park and the street to continue through to the specified site. To the south, the main volumes of conference center and auditorium project from the slab; a ramp between the two marks the formal entrance to the complex.

The 360-meter length of the building is conceived as a promenade, a coherent sequence of programs and views. Bridging the east and west banks of the river along its length, the project spans the new site to become a route, the crucial link is the trajectory that moves visitors in and out of the historic center. A series of ramps channel the public seamlessly through the building, absorbing all circulation into a sequence of visitor’s center, auditorium, conference hall, retail and hotel. A roof terrace accommodates additional leisure activities: mini golf, outdoor cinema, and lookout.

Taking its place within the urban fabric of the city, the siting of the CCC organizes the now disparate elements of Miraflores, river and historic center into a coherent urban grouping that extends the benefits of Cordoba’s tourist industry to the rest of the city.





Source: arquitectearte


El proyecto con que OMA, el estudio de Rem Koolhaas, ganó el concurso realizado en 2002 para El Palacio del Sur de Córdoba en la Península de Miraflores, frente al centro histórico de Córdoba, se construirá con un costo de ciento cincuenta y ocho millones de euros. El nuevo palacio, que se implantará en un terreno angosto orientado E-O, consiste en una viga flotante que actúa de amortiguador entre la península y el proyectado parque fluvial.
El Palacio del Sur de Córdoba, primer edificio de Koolhaas en España, será de cristal y buscará los espacios abiertos

El futuro Palacio del Sur o Centro de Congresos de Córdoba será el primer edificio que el arquitecto Rem Koolhaas construya en España y, según sus propias palabras, su diseño estará muy relacionado con el agua, ya que la fachada del edificio será de cristal.

El comienzo de las obras está previsto antes del verano, y en principio se estima que el presupuesto total supere los ochenta  millones de euros.

El edificio estará dividido en dos partes, entre el área específica de congresos, que estará ubicado junto a la autovía facilitando el acceso a las personas que vienen de afuera, y la zona más comercial y cercana al casco urbano, donde se emplazará un hotel con ciento setenta  habitaciones.

El futuro Palacio de Congresos, dispondrá además de tres auditorios:
-el mayor tendrá un aforo para mil quinientas personas,
-otro más pequeño con cabida para seiscientas personas y
-otro exterior para aproximadamente quinientas personas donde detrás del escenario se podrá disfrutar de una espectacular vista de la ciudad.

La propuesta, del arquitecto  es la de no competir con la Mezquita-Catedral, sino que sean complementarios y que el edificio viva del entorno.

Con respecto a la futura construcción del Centro de Arte Contemporáneo, que irá ubicado también en el Parque de Miraflores, junto al Palacio del Sur, Koolhaas manifestó que "será un espacio más que ayudará a aumentar la masa crítica y beneficios culturales y económicos a la ciudad".

Fuente: skyscrapercity

       


Context Urban Architectural  -  Style Eclectic Modern

The hat takes its name from Rem Koolhaas, a Dutch Architect/Urbanist. The architecture there created a design impulse and the hat was born in the following days. The design process kind of explains itself when you view the space

Sources: GreatBuildings,com   -   archiplanit.org

MoA(Museum of Art , Seoul National University), located beside the university’s main gate, serves as a contact point for the university and the local community. With U-glass exteriors and steel-framed trusses, the architecture of the MoA features a unique design that resembles a gigantic sculptural work floating in the air.
The interior of the MoA, with the floor area of 4,486.47 m2, consists of three stories and three underground levels. The dynamic spiral passage in the center connects the wings on two sides making the museum an open cultural space. The Museum’s entire structural design, the likes of which are rarely seen in Korea, organically connects exhibition spaces, educational spaces, and various other amenities like an archive room and a lounge.

서울대학교미술관은 교문 옆에 자리잡아 대학과 지역사회를 연결시켜주는 지점의 역할을 하고 있다. U-Glass를 외부마감재로 선택하여 철골 트러스 구조가 노출된 미술관 건물은 언덕의 지형을 이용하면서도 공중에 떠있는 거대한 조각 작품을 연상시키는 독특한 구조물을 보여준다.
지상 3층, 지하 3층으로 연면적 1,357평의 미술관 내부는 중앙의 나선형 통로와 측면의 두 곳의 통로를 통해 자연스럽게 서로 다른 기능의 공간으로 연결되는 유동적 성격을 띠고 있으며 각각의 공간사이의 출입문을 두지 않아 전시공간과 교육공간, 그 외의 자료실, 휴게실 등 내부가 유기적으로 연결되어 국내에서는 보기 드문 개방형 문화공간의 성격을 띠고 있다.

Museo de Arte, Universidad Nacional de Seul
MoA (el Museo de Arte, de la Universidad Nacional de Seúl ), localizado junto a la puerta principal de la universidad, sirve como punto de contacto para la universidad y la comunidad local. Con el cristal que da a los exteriores y bragueros enmarcados por acero, la arquitectura del MoA destaca un diseño único que se parece a un trabajo gigantesco escultural que flota en el aire.
El interior del MoA, con una superficie de planta de 4,486.47 m2, consta en tres historias y tres grandes niveles. El pasaje en espiral dinámico en el centro, conecta las alas sobre dos lados que hacen del museo un espacio abierto cultural.
El diseño estructural del conjunto arquitectónico del Museo, es poco probable de ver en el resto de Corea. Conecta los espacios de exposición, los espacios educativos, y varios otros servicios como un cuarto de archivo y un salón.







Source: OMA

The new Science Center in Hamburg designed by Rem Koolhaas/OMA looks just like an amethyst. As Rem Koolhaas despises the explicit use of iconography in architectural design, the amethyst analogy is not deliberately meant. The Science Center measures 14.000 square meters and features an aquarium, an academic theater, and probably also a planetarium.