Porsche Museum – Germany

Porsche is a company that has always been known for innovation and what better way to display Porsche’s history and legacy than in a museum that does the same?  In July of 2004 Porsche decided to start building a museum in Stuttgart, Germany.  170 entries were received from various architects, but the architectural team of Delugan and Meissl was chosen to complete this undertaking.  Construction began promptly October 2005 and the museum’s keys were handed over in 2008.  The grand opening took place January 31st, 2009.  Like most buildings, construction started from the core up.  About 21000 cubic meters of concrete were utilized for the underground garage, ground floor, second floor and central support beams.   The building is 5600 square meters.  It houses rotating exhibits of 300 restored cars, in working order, most of which look brand new.  It also features a 3000 book library, shop, restaurant, and conference facilities.

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Architect Zaha Hadid designed the neofuturistic BMW Central building in Leipzig, Germany.

When Zaha Hadid Architects were chosen to design the Central Building for Leipzig’s BMW plant, it was crucial that the building successfully joined and integrated the already existing on-site production facilities.  Zaha describes her project best by stating: “This building was very interesting because it was the weaving of all the flow lines from the exterior to the interior and also the weaving in of blue-collar workers and white-collar workers and management and design and production all in one space.”  “We tried to build a large site as if it’s going to build over time because it is very layered, like it has an inherent archaeology.”  The building acts as the main nerve center of the plant, joining together the three main production facilities.  Cars move overhead, through the main building, not only above busier visitor’s heads, but also past the desks of managers, designers and specialists.    The open office space designs date back to the feel of the American 1970s.  It has a positive influence on workflow, teamwork and an open exchange of ideas.  Therefore the building embodies what has been called a “communication knot – funneling all movement around the manufacturing complex through a space that transcends conventional white collar/blue collar special divisions.”  

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American neo-futuristic architect, systems theorist, author, designer, and inventor Buckminster Fuller and his geodesic dome in Miami.

Buckminster Fuller, Fly’s Eye Dome Prototype within the Miami Design District in Wynwood and at the Pérez Museum of Arts.

When you visit Miami, many places seem to attract public attention. Some of them, because of the substantial chauvinist, especially within the times of Miami’s “Cocaine Cowboys”. Other places emphasize the Latin American culture and the strong Cuban, Puerto Rican but also Haitian influence. By looking closer, the predominant cultural impact was given through Cuban

But being in Miami today, you will see a shift towards modernism embedded within the remaining myths and past existents. Miami is shifting rapidly, more than steadily, towards a 21st century mega city. Modern Megacities showcase not just culture and architecture but also and perhaps mostly an exclusive way of consumerism. Like it is in Los Angeles, more specifically Beverly Hills and Rodeo Drive, Miami showcases the just recently opened Wynwood’s Miami Design District. With the New Yorker developer and preservationist Tony Goldman, Midtown became what it is today, a vitalizing the Miami Design District, making it a popular arts destination for visitors from across the globe. 

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Why is modern architecture shifting towards minimalism?

When we talk about minimalism – what do we really mean by that? Simplicity became a way of life during the 20th century. Due to an overwhelming bombardment of colors and designs, our perception longed for simplicity.

If, for example, one were comparing a 19th century living room with a 21st century living room, we understand that all the playful attributes like storytelling clocks and bookshelves disappear within the 19:6 rectangle box called TV. The room surrounding those early TV consoles transformed into an almost sterile and flat living space, perhaps due to the hypnotic glow of the square box.

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