1. 路易威登基金会艺术中心 Foundation Louis Vuitton
一艔 ”白色玻璃帆船, 出现在巴黎城西的布洛涅森林中"
" 我們想要设計一幢隨著時間和光！線演變的建築，以此營造一種瞬息即逝和不斷變化的感覺。 " 建筑師弗兰克·盖里 說。他首創精確至毫米的弧形玻璃，制作出組成12塊帆形棚罩的3600塊構板，以及19000塊纖維混凝土板，締造出晶瑩如雪的冰峰...
2. 巴拿马生物多样性博物馆 ( known as The Biodiversity Museum: Panama Bridge of Life)
盖里 Frank Gehry将自己标志性的规则碎面, 运用在了博物馆的设计上，组合出一种兼收并蓄同时极富标志性意义的结构，它是不同形状的拼贴组合，外表则是孩子般天马行空的色彩。天顶由不对称的隆起组合而成，形成曲折的波形曲线，像被拼装起来的彩色玻璃纸，波状纸板或绘图用纸，吸引着那乘游轮而来的游客们的眼球。
3. 博物馆内部是热带雨林花园和生物圈，由Bruce Mau Design设计公司, 以及来自史密森尼学会（The Smithsonian Institution）和巴拿马大学的科学家共同设计。博物馆中的展品, 向观众展示在300多万年前，巴拿马地峡的出现是如何改变了全球的生物多样性，动物是如何迁徙到新大陆的。地处生物多样化的中心地带，巴拿马的生物博物馆, 努力向人们展示自然界的奇观，从而也强调对自然的保护。
4. The Biomuseo
The idea to build a Biomuseo comes from a group of people who wanted to revitalize the Causeway Amador, an area that was left by the United States in 1999. Panamanians finally had control over their territory and the management of the canal, this change had to be represented symbolically. A Museum was an adequate way to honour Panamanians and to demonstrate Panama's greatest richness: Nature and Biodiversity. The exhibition includes a recompilation of paleo-anthropologic history of Panama and the planetary effects of the isthmus' geological emergence three million years ago
盖里的这件作品曾被誉为“生命之桥”——指涉巴拿马地峡. The museum is called “Biomuseo: Bridge of life”, on a first level it means that geologically it has been a continental bridge between the two Americas. On a second level, the causeway is like a bridge to the islands.
Ultimately the Biomuseo is a bridge between the visitor with Panama’s nature and history as it invites the visitor into the country's marvellous landscape
Gallery 3 within the Museum is designed with gigantic crystals that are like the bowels of the earth. It merges into an animation that explains the process of creation of the isthmus that happened 80 million years ago. On a geographical point of view the causeway, with the Biomuseo at the edge, is a bridge that links the mainland to the three island. Moreover, it used to be controlled by the US and is mostly made of raw material from the canal. The re-appropriation of the causeway with a Biomuseo is put in parallel with martyr day on January 9th 1964 when the students rioted because they wanted to put up the Panamanian flag on the american zone of panama.
The causeway used to be part of the canal zone under US control, and it is only in 1999 that the Panamanians have control over this territory. The shape of the isthmus is somewhat similar to the shape of the museum and the specific location on the causeway which is at the entry of the canal and is bordered on both sides by water.
The roof of the Museum is composed of steel which has more than 5 layers of protection and has over 800 planks. The painting process represents about 5,000 m2 of painted surface or 1,800 kg of powder. Further exposing the complexity of the aquarium in the gallery 6 of “divided oceans” where the water system comes from the canal. It also requires more precision with only 6 mm of margin of error. The wind tunnel and its resistance to wind and horizontal rain has to be tackled. Finally, it ends on global production of the museum, to show that this project even though located in Panama involves the whole world.
The pavilions have asymmetric, bold roofs that evoke the spontaneity of the forces of nature. Their bright colors contrast with each other to become the unavoidable focal point. The architect departs from his usual pattern of metal tones and opts for brighter colors: red, orange, yellow and cobalt blue, as a reflection of the tropical environment, a solution that addresses the issue of national identity.
The country itself inspires the exterior finishes: a layer of gypsum covers the support of large glass windows that provide interaction with the outside environment. The expansive botanical garden surrounding the building was commissioned to the famous landscape architect Edwina von Gal. It invites guests to take a stroll under the shade of hundreds of plant species that coexist with the exotic local fauna.
The museum is more ecological than typical Panamanian architecture with the central atrium in open air without air conditioning, the air can circulate easily. Moreover, the water drainage system is a pure spectacle to itself, the drainage collects over 80,000 m3 of water rainfall and redistributes it for the botanical garden
Entrance at night. Photo courtesy Biomuseo
5. 彼得森汽車博物館 (Petersen Automotive Museum) 位於洛杉磯 (Los Angeles) 市中心博物館聚集的Miracle Mile, 館內展示各樣多少見汽車, 卡車, 摩托車, 汽車零件, 汽車模型, 汽車相關照片和圖畫。该建筑包裹在308个蜿蜒的金属丝带内。每一根金属带都具有独特的设计，其正面和底部表面是由不锈钢制成的，而背面和顶部的表面是由涂有 “ 改装车红” 涂料的纹理铝板制成。内部的构造同样令人惊叹，其中包括一座三层螺旋楼梯，以及可以让游客参观的25个展示历史、工业和汽车艺术的画廊 。
博物馆内的展览面积总计95000平方英尺 （8,825 平方米），超过三层。 游客的体验将从顶层开始，这片区域展示了汽车的历史，包括上世纪五、六十年代的概念车，蝙蝠侠漫画中的蝙蝠车，以及上世纪80年代电视剧《Magnum PI》 中出现的红色法拉利。
Part Frank Gehry, part Hot Wheel, the new exterior of the Petersen Automotive Museum can be startling at first. Architectural and design firm Kohn Pedersen Fox took the former department store at Fairfax and Wilshire and encased it in a corrugated red shell. Then came 35 tons of metal ribbons flowing over it like air currents in a wind tunnel. It is told that every one of the 308 pieces is different, and they had to fit perfectly.
Designed by Kohn Pedersen Fox Associates, the striking new exterior wraps the museum with ribbons of stainless steel that evoke motion, speed and the lines of a bespoke automobile. At night, the color and steel forms will be lit with LED s from within to accentuate the sculptural facade of the building.
6. Glasgow Riverside Museum by Zaha Hadid
这座建筑毗邻历史古城格拉斯哥最著名的两条河流——River Kelvin和 River Clyde——方案提取了基地环境中自然元素的形态，以雕塑般的建筑形式诠释了河流的能量。
博物馆位于一块不对称的地面上，并紧靠河港边缘。整体建筑比较低矮，建筑高度与水平面接近。像山峰和峡谷一样的波浪屋顶形式, 是根据周边观景角度设计的，依据环境的特点, 从圆弧曲线变化到尖锐的夹角。 建筑整体被金属板包裹，从而强调了建筑的中心性和地标性。