您需要 登录 才可以下载或查看，没有帐号？用户注册
Walt Disney Concert Hall
As one of Los Angeles’ architectural icons， the Walk Disney Concert Hall sits on a busy intersection， its metal fa？ade shines brightly in the everlasting sunlight of the American west coast. Designed by Frank Gehry during the latter half of his most experimental years， and after his success with the Guggenheim Bilbao， the eccentric American architect thought bringing the iconic sails of the sailboat onto the cracked pavements of LA.
The oddly shaped exterior mimics the billowing of the sails， and the inevitable voids made from such irregular shapes create the narrow pathways and entrances that provide such a variance of spaces in and around the building.
The roof garden behind the concert hall is covered by tall trees on one side and the sharp creases of metal on another， providing a simple balance of materiality that gives the garden its specialty. Once inside the concert hall， the curves become functional elements of the interior as they provide the perfect angles of sound reflection and absorption.
With as many people that visit this building and inhabits this building each day， it is a wonder that this building has stood up to constant scrutiny， first of its unusual exterior shape， then of its oft claimed random interior spaces.
Harbin Opera House
A building without its surrounding context cannot be claimed an icon at all. With the Harbin Opera House， designed by the eclectic Chinese architect Ma Yansong， an icon is certainly the word to use for the building’s striking shape and its malleable connection with the surrounding wetlands.
Situated just in the center of a large marsh， far away from any high-rise blocks， the opera house looks like a part of the environment as it gentle slopes from the edges of the building up to its main structure in the center.
It conforms to the natural curves you can find everywhere in nature， and this is to a certain extent the architect’s response to a city devoid of any iconic structures. The white panels covering the super structure of the building blends itself well to the surrounding snow covered landscape， and the gentle rolls of the walls create hills that from afar look certainly like it belongs with the environment.
On the inside， the white walls contrast starkly with the wooden wall of the concert hall， and as the sunlight shines down into the main lobby， the play of light and shadow along with the grains of the wooden surface give this interior atrium a clean but modern look.
Heydar Aliyev Center
Zaha Hadid is a household name. Her works has become herself， and her name cannot be separated from the organic waves her architecture exhibits.
The Heydar Aliyev center is one such building， a form created from mathematical formulas governed by a series of parameters. The cloud-like roof of this building drops elegantly down onto the ground level， perhaps done as a way to introduce the visitors to another dimension of architecture.
The white fa？ade is formed by a patchwork of engineered plastic panels and is such a heavy contrast with the dull brown desert surrounding this building. The building is almost like a missing perfection as grains of dust and sand covered the clean exterior panels， harking to the concept of decay and age that humans are so familiar with.
Marina Bay Sands
It’s not unheard of to see high-rise buildings standing besides the ocean， and all major cities along the coast tend to have a series of them running along the waterfront.
Singapore is no different， and the Marina Bay Sands can be seen as following the vernacular if not for the 300-meter-long sky park connecting the 3 towers on the roof. A feat of engineering and human ingenuity， the cantilevered sky park provides a breathtaking view towards both the city skyline as well as the ocean， and its designer， the Jewish-American Moshe Safdie， has pushed Singapore into the architectural limelight with his unusual contribution.
The 3 towers supporting the roof are generally overshadowed by the sky park， but they still invoke a strong sense of rigidity and elegance at the same time. Their slight curve on the longer sides of the buildings forms the footprint for a large atrium space running below the entire structure， which is lined with glass walls that bring in ample sunlight into the lobby.
Another feather of this building is the large mall adjacent to the towers that mimics the ebb and flow of a stormy sea， the roofs lifting up in places invoking the crashes of titanic waves.
Beijing’s tallest tower can be seen from all sides and from miles away， owing to the special aspect of Beijing’s planning， which limits the heights of new buildings in and around the 2nd ring road.
Designed to be like an ancient Chinese vase， the China Zun towers over the rest of the CBD， and its strong vertical fins further illustrate its verticality. The tower lacks any sharp edges， and its corners are conveniently rounded in order to follow the ancient Chinese philosophy “Fengshui”. The gentle curve of the fa？ade flares up at the ground lobby， looking like an upside down flower.
The ground level is then lined with tall glass walls that appear transparent， and the interior walls of the lobby curve out as they touch the ceiling， emphasizing again the gentle flow of wind and water. Tall glass panels fill the voids in-between the vertical fins of the fa？ade， and their dark color almost disappears as the whiter vertical fins reflect sunlight outwards. The top of the tower， similar to the ground level， is flared out， giving the tower an unique perspective to people down below of being shorter and stockier than it is in reality. This would also seem to be a way to maximize floor space at the top， which usually sells at a premium to whoever would wish to take up space at the tallest point in Beijing.