thingsorganizedneatly:

Kid’s Wagon from Todd McLellan's Things Come Apart.
Component count: 296
08.28.14 /14:50/ 370

"Y explica que tanto él como su socio han visto cómo se enseña esta profesión en distintos lugares del mundo, por lo tanto puede decir con propiedad que le parece que la escuela que está enseñando la mejor arquitectura con mirada social es la de la Universidad de Talca, “porque reconoce que la mayor parte de sus estudiantes viene de un contexto social con papás no profesionales, y se dan cuenta de que si les entregan las herramientas típicas, les va a costar tener un trabajo. Entonces lo que hacen es enseñar emprendimiento. Los obligan a construir un proyecto de título y convencer a alguien de hacerlo, o solucionar un problema para una empresa, una institución o lo que sea. Y con eso lo que generan son las habilidades para que ese arquitecto sea un profesional que hace lo que la sociedad necesita”.

kazu721010:

Stadhuis Lo / noAarchitecten
08.16.14 /10:25/ 48
kazu721010:

House Inn House / MAMM DESIGN
08.16.14 /10:25/ 251
08.16.14 /10:24/ 19

arkitekcher:

House of Fairytales  |  AND-RÉ

Location: Odense, Denmark

- We propose a space that challenges the visitor, serving as a gate to the imaginary and spirit of the writer universe, materialized through architecture. We present a living experience into H. C. Andersen’s tales. An experience totally inspired by the author, one that inspires the visitor to feel the values, moral and sensations offered by his stories. The concept is a garden that grew into a deep forest, transforming the public space into a magical experience. The theme of the forest is a regular appearance with a significant role, in fairytales and folklore. It represents mystery and dangers, being also a place of opportunity and transformation. This Fairytale Forest merges the public and private domain, in a coherent and unified whole, made of momentums that gently connect the outdoor with the indoor spaces.

museumuesum:

MARCEL DUCHAMP
Bicycle Wheel, 1913/51/64
Metal wheel mounted on painted wood stool, 51 x 25 x 16 1/2 inches
08.15.14 /10:54/ 177
jastuk:

african house on melrose plantation, natchitoches parish, la
08.09.14 /10:47/ 3

superarchitects:

NON_SEQUITUR: A Neighbourhood

Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014

The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.

Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.

blue-voids:

Gego - Reticulárea, 1969

cross-connect:

Portuguese urban artist Alexandre Farto aka Vhils born 1987creates stunning murals from decomposing walls using chisels, drills and small explosives. Seeing the act of deconstruction as a creative process, his deconstructed portraits can be found in Shanghai, London, Bogota, Paris, Lisbon and Los Angeles to name a few. 

Going by the name of VHILS, his work has obtained plenty of interest when a face carved into a wall appeared alongside a picture by street artist Banksy in London in 2008. His work is a renovation of our urban environment. Equally as important as art, it must exist not only in our galleries but out in the environment as well. By manipulating a variety of surfaces, VHILS envisions rich and layered portraits on our buildings that not only show us a visual portrait but also a picture of time in the city. Part artist, stone mason and archeologist, he slowly excavates the process of his craft via 

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peterjbyrne:

Residential House, Siem Reap (for families in Cambodia it’s common for several generations to live together, living in close contact with the outside environment - courtyards, where people meet)

Michaela Roženská (FA ČVUT, Prague)
08.07.14 /23:46/ 7
peterjbyrne:

Drawing House (I love traditional Japanese architecture, especially the Tea House. Technically, the Tea House is a building that was designed for the single purpose of preparing and drinking tea. Simple. But tea drinking in Japanese culture reached a level of religion. It became a kind of spiritual meditation, part of Zen. Thus the Tea House is in some ways religious architecture. It is interesting to compare the tea house to the medieval cathedral. Both buildings are created to serve a spiritual purpose. The cathedral is a large, towering, overwhelming structure built to impress the visitor with the grandness of God. The interior of a cathedral is meant to elevate the spirit. The tea house, on the other hand, is a small container that offers a personal space for introspection.
It is the idea of a small building designed for personal introspection that inspires the “Drawing House” model. It is a personal piece. While I am not a Zennist and I do not take to drinking tea as a spiritual activity (I do drink tea but not with that purpose), I draw and do think of drawing as a spiritual activity. And that is what the Drawing House is for. It is a structure that offers a variety of spaces and a variety of atmospheres to draw.
The main drawing space is on the first level. It has a built-in table long enough to enable the drawing of scrolls (I draw in a variety of formats). It also has a built-in storage compartment for art supplies and built-in shelves. The atmosphere of the drawing space can be manipulated by the sliding doors located on two of the walls. When fully closed, the doors seal the room, offering privacy and seclusion ideal for introspection. When fully open, a large portion of the corner of the building allows a view to the landscape outside and lets natural light into the interior space.
The secondary drawing space in on the second floor. It also has a built-in long drawing table. The space’s main feature is the sky “door” (how this would work in reality I have not detailed yet). The large sky door opens the ceiling to the heavens. Thus the artist can feel like he is sitting under the clouds with God looking at the artist’s creations.
There are two other drawing spaces in this structure. One is the balcony on the second floor and the other is on the exterior of the building on the deck) 

Maciek Jozefowicz
08.07.14 /23:45/ 187

subtilitas:

Rodrigo Duque Motta, Rafael Hevia, Gabriela Manzi - Diego Portales University School of Economics, Santa Clara 2010. Via, photos (C) Fernando Guerra

Canvas  by  andbamnan