#tomgoodchild

The Christian Dior building by SANAA displays the signature visual lightness that has come to characterise their work with a simple orthogonal form shrouded in an ephemeral vale.

The Tod’s building by Toyo Ito presents an organic form reminiscent of tree branches which is in stark contrast to the orthogonal form of the building itself. The positioning of the façade and the partially offset floor plates act to enliven the internal spaces, creating a dynamic interplay between the two elements.

The Sendai Mediatheque by Toyo Ito offers an uninterrupted, transparent external skin that encourages engagement between internal spaces and the surrounding urban environment. Beyond this external skin floor levels are situated at varying heights and the structural ‘tubes’ are scattered across the floor plate to interrupt the homogeneity of space.

The Hugo Boss building by Nirihiko Dan presents a dynamic, concave form to the chaotic streetscape of Omotasando. This sombre, stoic form stands in contrast to the overtly expressive forms of the buildings it is located next to.

The Yokohama International Ferry Terminal by Foreign Office Architects offers a sprawling piece of public space. The undulating form that this rooftop space takes invites the public to circulate to the end of the building in much the same way as a pier. A dynamic space where activity within the port can be observed, the building creates a connection with an area of the city that may otherwise have remained separated.

The visual lightness and transparency of Shibaura House by Sejima & Associates stands in stark contrast with its surroundings and creates a striking juxtaposition of aesthetics. The dynamic volumes of the building, and the interactions within them, are on display to the public. This gesture enlivens the surrounding urban environment and engages the occupants with this environment.