Interior Design Minimalist

Modern architecture and design is all about bringing out the best with the minimal possible effort and usage of materials. Economy and beauty are the two parallel components of minimalist blueprint that most homes use today. That’s why creating a fashionable, stylish and sleek structure with a futuristic design lies both in the usage of appropriate materials and shades.

This wonderful collection of minimalist Japanese homes illustrates how creative thinking merged with revolutionary use of building techniques can give shape to soothing and spectacular abodes. Ready? Here we go …

S House

Designed by Dutch architects from Grosfeld Van der Velde Architecten, the S House follows the box-shaped design that most modern homes seem to be adopting with ease. Located on the edge of the Asterdplas in the Hague district meadows in Breda, the simple yet elegant structure blends into the surroundings with ease.

The extensive use of sweeping glass windows and large spacious interiors gives it a grand and minimalist look.

No House

Located in Oyta, Japan the design of the No House is as unique as its name itself. The graceful and soothing white structure is designed like three progressive shells that are nestled inside one another, giving it a multi-layered appearance.

Designed by Sou Fujimoto Architects, the unique blueprint makes for a great natural insulation system and creates an indoor garden as well. The large windows and skylights offer plenty of natural lighting giving the No House energy saving options as well.

House by Makoto Yamaguchi Design

This ultra-modern home in Komae, Japan takes from the principle of design that states that simplicity is beauty. Designed by architects from Makoto Yamaguchi Design, the white structure is elegant, stylish and has a flowing shape to it. On the inside the simple cube takes many forms with the use of floor-to-ceiling windows which divide it into lavish rooms and sweeping corridors. But the white motif, that is the heart of the building, is kept as a running theme throughout.

House kn

This looks like quite a home with the way a part of the lid seems to have been blown away by a hurricane to create a lavish balcony! Designed by Kazuyasu and Mana Kochi of Kochi Architect Studio, House kn is located in Kanagawa Prefecture of Japan.

Elegant use of simple straight lines, shades in black white and grey along with use of sleek modern interiors make this home a minimalist’s paradise!

Sagami Bay Home

Conjured up and constructed by the world famous Foster + Partners, this modern home takes shelter in the shadow of Mount Fiji in Kawana.

The structure integrates elements of modern minimalist architecture with ancient Japanese design to create a unique weekend home that allows plenty of ventilation and offers lots of interior space. Special sliding glass doors, sliding walls, translucent and opaque shades and modern materials make it an ideal retreat and a beautiful holiday hub.

Garden Sea House

Talk about going hyper-minimalist and this Japanese home built by Takao Shiotsuka which takes that concept to its hilt.

The cube-shaped structure offers a wonderful sea view, has wide floor-to-ceiling windows and seems to be a bit excessive on glass usage. And that pristine white makes it as minimalistic and elegant as a home can get You almost feel scared to set foot in this place as you might end up disturbing its sanctity!

C1 House

C1 looks like a home that was built decades ahead of its time with the basic architectural design being a glass box surrounded by a walkway-gallery that connects different floor in the structure seamlessly.

Designed by Curiosity + Tomoyuki Ustumi and located in Tokyo, the home defines itself with the usage of the minimal possible material, spacious interiors and elegant use of wood and glass. A built-in walkway around the house acts a staircase to different levels that serve various purposes.

Dellis Cay Villas

Designed by Japanese architect Shigeru Ban, the two villas on the private island of Dellis Cay in the Caribbean offer stylish and sleek designs for a modern beach house.

Dubbed as Maison H and Maison S, the two villas are are somehow contrasting eachother. While Maison H is more classic and cube-styled in its structure, Maison S is more contemporary with sweeping curves. They both look amazing, isn’t it ?

Ghost

The last home on our journey to find the most beautiful modern minimalist homes, is Ghost. Designed by Jin Otagiri – founder of DATAR, the simple home is all about a pristine white look and clear cut lines,. Doesn’t look like anything we’ve seen before, so we’re still thinking if it’s art or architecture …

Amazing space age flying saucer shaped architecture. The organge structure was made by Hitachi to present the products of the future at Japan Expo 1970. The geodesic dome is the MIDORI-KAN Astrorama,a multi-dimensional world.



MIDORI-KAN Astrorama

Sound played a big role at EXPO 70. Back at EXPO 58 (Brussels) the Philips Pavilion (designed by le Corbusier) featured a "poemeelectronique" with "music" (actually a collage of many different sounds) composed by Edgard Varese. The recorded sound was directed through 425 loudspeakers according to a program that ensured that each performance was spatially different. At EXPO 70 the German Pavilion featured an auditorium housed within a 30m diameter geodesic sphere designed as an "electrical space-sound studio" incorporating various experimental techniques for "future concepts" of opera theaters and concert halls. The facilities included 500 loudspeakers and complex sound mixing and routing equipment.


As 1970 represented the 200th anniversary of Beethoven's birth, the space was used for live concerts and recorded music of both classical and modern composers. The most notable of the latter was Karl Heinz Stockhausen who personally conducted performances of his electronic compositions every day for several months of the EXPO. He used what he called a "sound mill" (rather like a hand coffee-grinder) where turning the handle directed sounds to different parts of the sphere.


Most pavilions wanted to ensure that as many visitors as possible could move through their exhibitions. This meant that if any kind of "show" was to be given, there had to be sufficient space for the audience; so, for example, if the target was 1,800 visitors per hour, a two minute show would need space for at least 60 viewers. The UK pavilion, which, like its predecessor at EXPO 67, made good use of audio-visual displays integrated into exhibition settings, was one of many to exploit the relatively new technique of multi-image projection using multiple electronically controlled slide projectors. The pavilion included a 16 screen (32 projector) display devoted to the arts, and featuring leading British artists, sculptors, architects and actors of the day; but to meet the visitor flow requirement it was only a few minutes long.


Many of the foreign exhibitors used multi-image slide technique. It was particularly suitable for relatively small pavilions like that of Ireland, which had a most engaging show based on excellent photography of the country. The Scandinavian Pavilion had a show using over 60 projectors, but unfortunately their clever ideas did not really work with the Japanese Public. Visitors were given a "fan" (in fact a white card) and if they held it correctly they could read projected captions on it that described the images on the overhead screens.

This approach could have worked well in an exhibition with few highly motivated visitors; but the Japanese visitors, mostly in organized groups with a flag-bearing leader setting the pace, simply did not have the time to work out what they were supposed to do.


EXPO 70 was really notable for the presence of the big Japanese corporate pavilions. Many of these worked on a "timed show" basis. While this allowed proper shows of some length to be given, it did limit the throughput of individual pavilions. Many of the pavilions were obviously inspired by the success of the multi-screen films that had been seen at EXPO 67, and were determined to go one better, with varying degrees of success.


Typical was the combined Toshiba and IHI Pavilion. Here 500 visitors at a time were loaded onto a circular platform that then rose 5.5m up into a 26m diameter theater space. An 18 minute film show was presented on nine screens, each 9m wide at base and 7.5m wide at the top. During the show, entitled "Light for Man", the audience platform rotated.


The Gas Pavilion had a multi-screen film show "symphony of laughter" shown on four screens to audiences of 380 at a time. The arrangement of a long narrow screen on the floor, two tall vertical screens and a conventional front screen was reminiscent of the "Labyrinth" pavilion seen three years before at EXPO 67. The Automobile Pavilion had a 35 minute four screen show called "240 hours a day", a humorous science fiction film presented on three screens side by side and a portrait format screen in the ceiling.


In 1969 Sony had developed the U-Matic range of videocassette based professional video recorders. Although tape is not ideal for exhibition presentation, and would have been very expensive at the time, it is clear that color video presentation was used at EXPO 70, for example the Telecommunications Pavilion is described as having 200 color TVs showing pictures of babies. It is not clear how many separate video sources were used, but it is at least probable that a number of early U-Matic machines were used (otherwise studio TV recorders or telecine machines would have been necessary; the alternative of lots of live babies on camera seems unlikely!).

The Telecommunications Pavilion demonstrated Japanese expertise in long distance communication by having "video telephones" demonstrated on giant TV screens. Live hook-ups to Tokyo, Kyoto and Japan's southernmost point, Tanegashima Island, were shown on giant projection screens -- a 13m*9m black and white image and two 6m*4m color images, all using the Swiss Eidophor projection system.

EXPO 70 was a true space age architectural dream world with many rewarding exhibits to see if you had the stamina. Each country had its own fashion dress code.