(Source: architectureryangosling)

SANAA - “We have tried to design a transparent building in the sense that we are not hiding what is happening behind the surface of the structure.”

SANAA - “The solution emerged through an extensive period of trial and error. We made numerous study models based upon the New Museum’s program and the demands of the site, the zoning envelope. First we arrived at the notion of the boxes themselves; each one represents a specific piece of the program developed by the Museum. Then we tried shifting the boxes to render the inside of the building more accommodating and open, with more possibilities for daylight to enter spaces and views to appear at various points in the interiors. We designed the building from the inside out, based upon our understanding of the Museum’s needs.  Because of the kind of art the Museum shows and the curatorial approach they take, we wanted to design simple spaces - spaces without columns and with a lot of possibilities for different configurations, for placement of temporary dividing walls, and so forth - that would provide the widest range of options. We do not believe that a building should overwhelm or compete with the art presented within it, particularly when it comes to contemporary art.  So we have tried to make spaces that are inviting but straightforward.”

SANAA - “The solution emerged through an extensive period of trial and error. We made numerous study models based upon the New Museum’s program and the demands of the site, the zoning envelope. First we arrived at the notion of the boxes themselves; each one represents a specific piece of the program developed by the Museum. Then we tried shifting the boxes to render the inside of the building more accommodating and open, with more possibilities for daylight to enter spaces and views to appear at various points in the interiors.

We designed the building from the inside out, based upon our understanding of the Museum’s needs.  Because of the kind of art the Museum shows and the curatorial approach they take, we wanted to design simple spaces - spaces without columns and with a lot of possibilities for different configurations, for placement of temporary dividing walls, and so forth - that would provide the widest range of options. We do not believe that a building should overwhelm or compete with the art presented within it, particularly when it comes to contemporary art.  So we have tried to make spaces that are inviting but straightforward.”

SANAA used geometry in a more straightforward way to generate the circularbuilding they designed for the 21st Century Museum of Contemporary Art in Kanazawa, Japan (1999–2004). While the perimeter of the building is a simple circle, its interior spaces are complex due to the careful arrangement of geometric shapes used to house the individual galleries.

SANAA used geometry in a more straightforward way to generate the circular
building they designed for the 21st Century Museum of Contemporary Art in Kanazawa, Japan (1999–2004). While the perimeter of the building is a simple circle, its interior spaces are complex due to the careful arrangement of geometric shapes used to house the individual galleries.

Kazuyo Sejima and Ryue Nishizawa have been working collaboratively under the name ‘SANAA’ since 1995. Sejima studied architecture at the japan women’s university before collaborating with architect Toyo Ito. She launched her own practice in 1987 and was named ‘young architect of the year’ in Japan in 1992. Nishizawa studied architecture at Yokohama National University and, in addition to his work with Sejima, has also maintained an independent practice since 1997.

Kazuyo Sejima and Ryue Nishizawa have been working collaboratively under the name ‘SANAA’ since 1995. Sejima studied architecture at the japan women’s university before collaborating with architect Toyo Ito. She launched her own practice in 1987 and was named ‘young architect of the year’ in Japan in 1992. Nishizawa studied architecture at Yokohama National University and, in addition to his work with Sejima, has also maintained an independent practice since 1997.

Continued series of Suspension Suit idea.

Continued series of Suspension Suit idea.

Newer developments in the Suspension Suit idea.

Newer developments in the Suspension Suit idea.

Fall 2005 - Suspension Suits

Ralph Rucci’s “suspension” garments are less about gravity than they are about the complex engineering that goes into the composition and finishing of a
garment, some of which comprise more than eighty-five individual pattern pieces. “Suspension” refers to the way the pieces of fabric seem to hang in the final garment, held together by almost indiscernible layers of hand-stitching.