The theoretical conceptualization of architecture lends itself to many forms. There are newer technologies applied based on which maximum use is derived from architecture. At times the architectures give its most use of aesthetics and purpose, with very little work. This is core to the philosophy of minimalism. Minimalism in art and architecture is somewhat interweaved. Attempting to achieve and portray with little, minimalism also has a functional purpose. This report analyzes the subject of the Glass Pavilion at the Toledo Museum of Art that has been installed by Sanaa. The technology discussed is the glass technology, advantages of use and concern. The essay argues that Sanaa has embraced aesthetic and functional minimalism, through the analysis of the application of glass technology towards constructing the Glass Pavilion at the Toledo Museum of Art. This will help readers understand that minimalism applied in architecture can have both a functional use as well as an aesthetic use.

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Glass Pavilion at the Toledo Museum of Art
Introduction
The theoretical conceptualization of architecture lends itself to many forms. There are
newer technologies applied based on which maximum use is derived from architecture. At times
the architectures give its most use of aesthetics and purpose, with very little work. This is core to
the philosophy of minimalism. Minimalism in art and architecture is somewhat interweaved.
Attempting to achieve and portray with little, minimalism also has a functional purpose. This
report analyzes the subject of the Glass Pavilion at the Toledo Museum of Art that has been
installed by Sanaa. The technology discussed is the glass technology, advantages of use and
concern. The essay argues that Sanaa has embraced aesthetic and functional minimalism, through
the analysis of the application of glass technology towards constructing the Glass Pavilion at the
Toledo Museum of Art. This will help readers understand that minimalism applied in
architecture can have both a functional use as well as an aesthetic use.
Glass Pavilion at the Toledo Museum of Art SANAA
Construction: The Glass Pavilion at the Toledo is constructed such that the structural
concepts are well integrated with the architectural concept. A part of the Museum of Art, this is
actually an addition to the existing construction of the Toledo Museum of Art.

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Courtyard and the Multipurpose Room
Source: Schneider, Brett, and Guy Nordenson
The purpose of the construction was to have a gallery for the art glass and the glass
blowing workshops that were conducted alongside with the showcasing. The initial planning was
for a building that would be 60 m × 60 m with roof height of 4.5 m. The building that was
planned was to house independent galleries as enclosed with glasses. Each of the workshops had
similar arrangements. The rectangular enclosures were to have a 0.8 m wide cavity. This was the
partition between the walls. The glass walls also serve as a form of visual connection. People
inside the rooms would be able to view the outside wooded park in which the museum was
located. The Glass Pavilion that actually looks simple when viewed in the above image is
supported by a complex and integrated architecture. The majority of the interior partitions are
achieved by making use of glasses only. Since glass was used extensively, the other building
systems which required a more supportive and opaque necessity was actually connected out to
the other sections of the building. A usual building architecture will have the plumbing and

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mechanical support organized within the building for which it provides such services. However
in the case of this building it can be seen that the services are actually distributed. Yet another
unconventional usage noted here was that the steel roof framing, steel vertical support and others
required being coordinated to the glassed architecture. It was necessary that the building systems
make use of unconventional methods because the solutions although conceptually similar are
bound by different form of physical stresses. Some of the key elements as noted in this
unconventional system are as follows: 1) The continuity of the girders and joists are the primary
elements. These have to be continuous in order to support a distribution of the bending for the
critical design movements. In addition it is also noted that the welding and more are constructed
with infill joist spans which allows for easier bolting in as per the situation. 2) There was a kink
in the girder lines. This kink was necessary for ensuring that the girder lines are kept straight,
however the same kink also resulted in the girder lines to suffer a torsion movement. The torsion
was resolved into bending shear for the joist spans. 3) In normal constructions the roof elevation
is defined by means of a single top of steel elevation. However this is not the case here, it could
be seen that girders that are used here needed a better depth. The depth is necessary to help the
girders bear weights. To resolve this girders have a steel elevation that is different from that of
the joists. The girders will be located such that they share a bottom steel elevation which would
help them meet the weights as will be required. On the other hand, the common top steel
elevation will be used in the case of the joists. 4) The clearance that exists at the roof is needed in
order to substitute for the less opaque space that is available to hide anything. A 152 mm
clearance is necessary. This is because the normal plumbing work such as the drainages,
sprinkler pipes and more cannot be glass and they cannot run across the transparent and see
through sections of the building. The presence of very few opaque surfaces means that it will be

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necessary for the drain lines and more to be fitted into more compactly. Sloped drain lines were a
way to achieve this. There are no extra constructions done anywhere for the sake of aesthetic
preparations for this building. Where possible it is noted that some unconventional methods are
used, however thee methods does not disturb the design or for addition additional work in
construction. The ceiling that is presented for the Pavilion is actually duct free. This means the
ceiling is partitioned and will help in providing air plenums. In all cases possible the structural
concept and the architectural concept do not work as a disjointed element, it is a very integrated
construction attempt.
Location: The location of the Glass pavilion is strategically located across Monroe Street
transversely to the Neoclassical Toledo Museum of art. It is found in the south most end point of
the Victorian-style lodging district. The area surrounding the glass pavilion is a dense
amalgamation of around 150 year old trees. The neighboring areas surrounding this building
have a rich heritage and culture. While construction of the building the people generally felt that
it would affect the overall mood of the surrounding and they wanted the construction of the
building to be stopped. However after completion the final viewpoint has been an interesting
addition to the area. If anything it has only added value to the surrounding areas as a result of its
completion.
Design Theme: The design theme of SANNA can be defined as “classically
minimalistic”. There is an astounding accuracy of transparency and very exact shaped geometric
structure in the building. There are not many floor levels to this glass building however it
encompasses an area of 74000 sq. feet. The ground level landscape level of the house can
actually accommodate mechanical space, loading dock and staff workshops. There is also place
for classroom and future artistic gallery space. There is an obscurity in the transparency of the

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building. It looks apparently simple however it has a lot of detailing and a lot of accuracy to
create the minimalistic effect of the house. The floor plan of the house is actually very complex
and intricate. The glass walls give the person inside an outside connect with the world. The
leveled snowy gypsum ceiling is actually in place to give the people a view of the clouds. They
can actually visualize the clouds. The art lovers feel that this building in itself deserves Pritzker
price from its artistic view and the intrinsic detailing inside the building. They feel connected
with nature inside the building. The uniqueness of the building actually aids the people to
visualize and it has been an inspiration to the artists to perform at excellence.
Minimalism in Architecture
Minimalism was an art form of the twentieth century. It spread to be incorporated into
more than just the artistic forms; it came to be visualized in clothing, a way of living and in
architecture. Minimalism in Architecture is actually a concept when only the bare essentials are
seen in the completion of the building. This adds to the aesthetic value of the building. The
reason behind this kind of architecture is that it is a value addition to the building. Another
reason is that the costs involved are less (Malan, and Bredemeyer). People usually prefer
minimalistic architecture primarily for any one of the above reasons or both. The people also
have the leverage to add elements to make it more appealing to their senses. The motto that is
cited behind this type of architecture is that “less is more”.
By not explicitly voicing the opinion in the form of ornamentation or designs the
architects basically strip down to the bare essentials. This speaks in volume. There is a definite
arrangement of the lines and planes elements in the design of the building. It also encompasses
definite geometric shapes. What makes it interesting is that the simple geometric structures
actually create an intricate floor plan. The people inside the building feel a sense of calm and

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connect with the outer world. The elements like natural light, environment is given emphasis in
the building structure.
This concept of minimalistic architecture dates back to the Higashiyama culture that
existed in Japan during the 15th
century. The people believed that aesthetic excellence could be
achieved in this concept of architecture. Wahi and Sabi are believed to be the underlying
concepts behind this minimalistic architecture. The Sabi culture primarily believes in the motto
of appreciation of the elegance behind poverty. Some of the fine examples of aesthetically
beautiful minimalistic architecture are loft in New York designed by the Italian architect Claudio
Silvestrin. Takio Shiotsuka designed “Garden and sea weekend house”. Dancing living house
designed by A.L.X architect. There is an intrinsic element of spirituality, philosophy and concept
behind these minimalistic designs. Some of the spiritual elements of Zen are seen in these
concepts of minimalistic architecture (Bertoni). The Japanese culture has tried to embed their
spiritual philosophy into their design of the building. They wanted the building to look adorned
and artistically beautiful. They wanted their Zen philosophies to be transformed into the
architecture of the building. In the modern era the architects are using these minimalistic
concepts in their building designs. Minimalistic architecture is truly an art form that is worth
every praise it garners.
SANAA and Minimalism words
In the SANAA building designs there are no excessive ornamentations to decorate the
building. There is spatial flow transparency that exists in the building designs. The architects had
used the Japanese philosophy of embedding minimalism in their building designs. In this design
the geometric shapes might look apparently simple but there is a lot of intricate work that has

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gone into the design of the building. The materials that are used in the design of the building are
also similar in context of the minimalism exhibited by the architects.
Kazuyo Sejima and Ryüe Nishiza are the architects that designed the SANAA buildings.
These architects started their profession building small buildings at first but owing to their
artistic sense and architectural ability they have since become popular. These architects being
basically Japanese had embedded the Japanese culture of minimalism in their building designs.
The essence of the rooms and the building as a whole is white color. This hue is a generic color
and mixes well with any color of nature. The people when they are inside the building feel
connection with the outer world. The people inside the building feel as one with nature and the
elements of nature (Carpico). They can practice any spirituality. The beauty of the building
structure is that it enables the artists to get inspired with the structure and its connection with the
outer world. There is a definitive flow in the house. The architect by not speaking or expressing
their individuals‟ views of beauty has actually spoken in an invisible manner. All the elements
pertaining to the building its structure all speaks of the voice of the architects.
The pavilion at the Toledo Museum is a paradox. At one end it is called out by critics for
the environmental friendly approach and nature integrated approach that has been used. There is
a sense of minimalism in how the construction accommodates its situational placement which is
nature, and uses as little as possible to decorate the workshops and the galleries. However on the
other hand, there are critics that argue that this construction was anything but complex.
Showcasing the art of glassmaking using glass as an art and architectural construct is an
innovative attempt. However the 30 million-enclosure that was designed a complex enough
envisioning. Minimalist design would have meant using little or building such that the

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construction will not use up more energy or other physical resources. This building achieves that
despite the critics.
The architects of this pavilion wanted a one story construction that would open up the
museum to a grove. The initial design was also to open up the courtyards at the three ends of the
pavilion to the sky. This ensured that the glass was being used in order to incorporate nature into
the settings. This was a minimalist approach, as light, aesthetics and even ambience within the
building is created by means of the outside environment. The associate who was in charge of the
project states that their goal was to ensure that the building be constructed in as light a way as
possible such that it was both open and functional. This goal is also kept in the way that the
structural system for supporting the building is integrated. As introduced in the above section on
the building the façade high glass walls are built to stand their own shears and stresses. A wall in
a normal construction has to bear the weight of the roofs. However in the case of this
construction there is employed a slender steel column which would bear the weight of the roofs.
This very feature of the inclusion of only steel columns that are included only at regular intervals
aspires to increase the sense of openness of the building (Campbell). Secondly the here a
basement level heating and air conditioning system is used. The space between the air walls
serves the dual purpose of being the partition between galleries and also serves to control the
airflow. Here it is noted that any element of construction that has been approved for in the
construction of the Pavilion is seemingly done considering the different purposes that it could be
put to use for.
A minimalist architecture is one that would ensure that the environment is not affected in
any ways. It will actually be built in such a way so as to increase its interaction with the
environment, in the form of nature and others. This pavilion is so cut and constructed that its

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exterior glass panels are observed to be adhering to the proper minimalist controls as could be
possible in its design. It uses mechanical systems that are embedded as trenches. It makes use of
flat concrete beam trenches and these trenches run through the slabs, so as to increase the
continuity of the trenches. The design and architecture must have required a high degree of
quality control as indicated by Schneider and Nordenson. This was because of the careful
integration of the structural support works and the architecture itself. Campbell Hugh presents
how an experience of space is created with so little such as glass enclosures. The concept of
space has been an important element in play theaters. This was because space to be shown on
stage was a complex thing. A small stage has to be depicted as something bigger than what it
really us. In essence achieving this challenge would mean, more has been shown with less. In
the context of SANAA‟s works this has also been the case. Niedermayr in his collaborations with
SANAA indicates that the experience of space is created by SANAA using complex architecture
which once mastered could be simple actually. The actual spatial experience is created is not
illusion with glasses. In the case of the pavilion it can be seen that the glass structures so created
bring in the entire ambience inside. People can view the clouds, and also feel the nature in which
they are situated. In this context SANAA in its construction of the Pavilion has actually mixed
art and architecture.
While following minimalism in most of its constructions, critical workshops conducted to
analyze the same indicate that there were some slips however. In such a workshop conference it
was noted by Kazuyo Sejima from SANAA, that the quality of spaces that was achieved was
completely done with the use of transparent materials. This ensured that the construction
actually showed a more elevated appearance than really was (Wainwright). The museum glass
made it appear that the demonstration rooms could be connected across visually to an audience.

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Furthermore the museum made use of rounded low reflective glasses which distorted but
managed to layer the outside atmosphere into the inside, were all plus points. However there
were some elements to which the architect had to go back and use established methods. One of
them is that of the walls balancing their own strength. Since the walls cannot do them an extra in
the form of painted steel columns has been utilized. This use of an extra might not be in
accordance with minimalist attributes.
Conclusion
„Less is more‟ represents the Japanese culture of minimalism. The Toledo pavilion as
built by SANAA attempts to follow the „less is more‟ style. The costs involved in this style of
architecture are paradoxically same and is even complex at times when compared to traditional
minimalist architecture. However, the elements used, the support extended and the long term
aesthetic purpose defined for the museum addition (in the form of added spaces and continuum
established with nature) it can be said that the Toledo pavilion is indeed an example for
minimalist architecture.

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References
Bertoni, Franco. Minimalist architecture. Birkhauser, 2002.
Campbell, Hugh. "Artists of the Floating World: SANNA, Niedermayr and the Construction of
Atmosphere." Architectural Design 78.3 (2008): 92-95.
Carpico, Ryan. "Pritzker Prize Worthy: SANAA's Glass Pavilion at the Toledo Museum of Art"
(2010). Web. March 6. 2015
Malan, Ruth, and Dana Bredemeyer. "Less is more with minimalist architecture." IT professional
4.5 (2002): 48-46.
Schneider, Brett, and Guy Nordenson. "Glass Pavilion, Toledo Museum of Art, Ohio." Structural
Engineering International 18.1 (2008): 49-52.
Wainwright, Edward. "Social, political and cultural layers of transparency Can glass allow both
security and openness" Arq. 12. 1. (2008): 8-11