美国斯蒂文斯理工学院论文代写：极简主义
在萨那的建筑设计中，没有装饰建筑的过度装饰。建筑设计中存在着空间流动的透明度。建筑师们使用了日本的哲学，在建筑设计中嵌入极简主义。在这个设计中，几何图形看起来很简单，但是有很多复杂的工作已经进入了建筑的设计。在建筑设计中使用的材料也类似于建筑师展示的极简主义。
Kazuyo Sejima和Ryue Nishiza是设计SANAA建筑的建筑师。起初，这些建筑师开始建造小型建筑，但由于他们的艺术感和建筑能力，他们后来变得很受欢迎。这些建筑师基本上是日本人，在他们的建筑设计中嵌入了日本的极简主义文化。房间的本质和整个建筑是白色的。这种颜色是一般的颜色，与任何颜色的自然混合。当人们进入大楼的时候，他们感觉与外面的世界有联系。建筑内的人感觉与自然和自然元素(Carpico)融为一体。他们可以练习任何灵性。建筑结构的优美之处在于，它使艺术家们能够从建筑的结构和与外部世界的联系中获得灵感。房子里有明确的流动。建筑师不说话或表达个人对美的观点，实际上是用一种看不见的方式说话。所有与建筑结构有关的元素都反映了建筑师的声音。
托莱多博物馆的展馆是一个悖论。在其中的一端，它被批评人士所呼吁的环境友好型方法和使用的自然综合方法。有一种简约的感觉，就是建筑如何适应它的情景布局，这是自然的，并尽量少用，来装饰工作室和画廊。然而，另一方面，也有人批评说，这种建设根本不复杂。
美国斯蒂文斯理工学院论文代写：极简主义
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 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.
