FRANK O.

GEHRY

was born on February 28, 1929 , in Toroto,Canada. He then attended Harvard Graduate School of Design, where he studied city planning. After graduating from Harvard, Gehry served as project designer for various firms in Paris and Los Angeles. first caught the publics attention in 1972 with his Easy Edges carboard furniture :

He is a famous architect best known for his sculptural technique in building design. He derives his style from late modernism, expressions of the deconstructivist (or DeCon) school of modernist architecture. He often mixes uncoventional shapes and building materials to produce stylish designs. Much of Gehry's work falls within the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition

Dancing House

known as deconstructivist architecture due to its unusual shape. The dancing shape is supported by 99 concrete panels, each a different shape and dimension. On the top of the building is a large twisted structure of metal nick named Medusa. The first is a tower of glass that is close to half height and is supported by curved pillars, the second runs parallel to the river, which is characterized by the moldings that follow a wavy motion and distributed through the windows so the non-aligned. This solution has been driven mainly by a kind of aesthetic consideration: the windows lined evidenciaran that the building has two windows, although they have the same height as the two adjacent buildings of the nineteenth century. do not have to be perceived in the will of the designer, as simple forms on a flat surface, but must achieve the effect of three-dimensionality, hence the idea of frames as outgoing frames of paintings. Also the winding moldings on the facade make it more confusing perspective, diminishing the contrast with the buildings that surround it.

Rem Koolhaas

Architects, for the first time in several decades, are being solicited for their power to physically articulate new visions, People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming. born 17 November 1944 is a Dutch architect, architectural theorist, urbanist and "Professor in Practice of Architecture and Urban Design" at the Graduate School of Design at Harvard University, USA. Koolhaas studied at the Netherlands Film and Television Academy in Amsterdam, at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming. Although his projects are viewed as visionary by most, they are also unusual and frequently constructed using inexpensive, everyday materials.

China Central Television (CCTV) had been expanding greatly, in competition with major international television and news service providers, and early in 2002 it organised an international design competition for a new headquarters. This tube is formed by fully bracing all sides of the facade Vertical cores housing lifts, stairs, and risers are oriented and stepped so that they always sit within the footprint of the sloping Towers the floor plates of the Towers take support from many vertical columns The two-storey base pattern was chosen to coincide with the location of several two-storey high studios within the Towers.

Bernard Tschumi

Throughout his career as an architect, theorist and academic, Bernard Tschumi's work has reevaluated architecture's role in the practice of personal and political freedom. Since the 70s, Tschumi has argued that there is no fixed relationship between architectural form and the events that take place within it. The ethical and political imperatives that inform his work emphasise the establishment of a proactive architecture, which non-hierarchically engages balances of power through programmatic and spatial devices. According to Tschumi's theory, architecture's role is, not to express an extant social structure, but to function as a tool for questioning that structure and revising it. This approach unfolded in his architectural practice first, by exposing the conventionally defined connections between architectural sequences and the spaces, programs and movement which produce and reiterate these sequences; and second, by inventing new associations between space and the events that take place within it, through processes of defamiliarization, de-structuring, superimposition and cross programming. Tschumi's critical understanding of architecture remains at the core of his practice today. By arguing that there is no space without event, he designs conditions for a reinvention of living, rather than repeating established aesthetic or symbolic conditions of design. Through these means, architecture becomes a frame for constructed situations, a notion informed by the theory, city mappings and urban designs of the Situationist International. By advocating recombinations of program, space and cultural narrative, Tschumi asks the user to critically reinvent themselves as subjects. In America, it's more difficult because architects have lost a lot of power; power has fallen into the hands of the builders...the general strategy is determined by the client himselfthat's a big problem. And that's what we want to avoid. "Any relationship between a building and its users is one of violence, for any use means the intrusion of a human body into a given space, the intrusion of one order into another." Tschumi in Architecture and disjunction

The museum will own and occupy about 75,000 square feet in a mixed-use joint-development project. This dramatic increase in public space, in addition to the museums new location will provide adequate space for significantly more exhibitions, public programs, and education initiatives; thus enabling the museum to serve larger audiences. e new Museum, which faces Central Park to the west, is distinguished on its north and west facades by trapezoidal windows with bronze-finished aluminum mullions that create a dynamic pattern isitors will enter the new Museum through a soaring glass atrium that measures 45 feet high. Curving African etimoe wood form one of the walls and the ceiling of the 5,000 square ft of informal exhibition space. The second floor provides 15,000 square feet of flexible gallery space which will typically be configured as three rotating exhibition galleries that may be installed individually or as a group. The third floor of the Museum will house the library, offices, and a gracious event space with a roof terrace overlooking Central Park.