AnonimoBulto
AnonimoBulto
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fabriciomora:

A Date With Data - Hayden Grindell
fabriciomora:

A Date With Data - Hayden Grindell
fabriciomora:

A Date With Data - Hayden Grindell
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acidadebranca:

Chicago
[25]
The Kluczynski Federal Building is a modernist skyscraper in the downtown Chicago Loop located at 230 South Dearborn Street. The 45-story structure was designed byLudwig Mies van der Rohe and completed in 1974 as the last portion of the new Federal Center. It is 562 feet (171 m) tall and stands on the site previously occupied by theChicago Federal Building by the architect Henry Ives Cobb. It was named in honor ofU.S. Congressman John C. Kluczynski, who represented Illinois’s 5th congressional district from 1951 to 1975 after his death that year.[1] This is one of three buildings by van der Rohe in the Federal Center Plaza complex: the others are the US Post Office (Loop Station) and the Everett McKinley Dirksen United States Courthouse.
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formascriticas:

→ Sharifi-ha House por Next Office. ©Salar Motabari
A casa Sharifi-ha do atelier Next Office em Tenran, no Irão, foi um dos poucos projectos que me chamaram atenção durante o meu período de férias.
Não sou fã dos interiores deste edifício, mas, não posso deixar de fazer referência ao excelente trabalho que este atelier realizou com a fachada. Adorei a ideia da mutação/metamorfose, que me fez lembrar os conhecidos - Transformres - e as diferentes disposições que estes volumes revestidos a madeira podem adquirir. Acima o conceito e algumas imagens que explicam todo o processo. 
O projecto completo pode ser visto aqui. Take a look! 
formascriticas:

→ Sharifi-ha House por Next Office. ©Salar Motabari
A casa Sharifi-ha do atelier Next Office em Tenran, no Irão, foi um dos poucos projectos que me chamaram atenção durante o meu período de férias.
Não sou fã dos interiores deste edifício, mas, não posso deixar de fazer referência ao excelente trabalho que este atelier realizou com a fachada. Adorei a ideia da mutação/metamorfose, que me fez lembrar os conhecidos - Transformres - e as diferentes disposições que estes volumes revestidos a madeira podem adquirir. Acima o conceito e algumas imagens que explicam todo o processo. 
O projecto completo pode ser visto aqui. Take a look! 
formascriticas:

→ Sharifi-ha House por Next Office. ©Salar Motabari
A casa Sharifi-ha do atelier Next Office em Tenran, no Irão, foi um dos poucos projectos que me chamaram atenção durante o meu período de férias.
Não sou fã dos interiores deste edifício, mas, não posso deixar de fazer referência ao excelente trabalho que este atelier realizou com a fachada. Adorei a ideia da mutação/metamorfose, que me fez lembrar os conhecidos - Transformres - e as diferentes disposições que estes volumes revestidos a madeira podem adquirir. Acima o conceito e algumas imagens que explicam todo o processo. 
O projecto completo pode ser visto aqui. Take a look! 
formascriticas:

→ Sharifi-ha House por Next Office. ©Salar Motabari
A casa Sharifi-ha do atelier Next Office em Tenran, no Irão, foi um dos poucos projectos que me chamaram atenção durante o meu período de férias.
Não sou fã dos interiores deste edifício, mas, não posso deixar de fazer referência ao excelente trabalho que este atelier realizou com a fachada. Adorei a ideia da mutação/metamorfose, que me fez lembrar os conhecidos - Transformres - e as diferentes disposições que estes volumes revestidos a madeira podem adquirir. Acima o conceito e algumas imagens que explicam todo o processo. 
O projecto completo pode ser visto aqui. Take a look! 
formascriticas:

→ Sharifi-ha House por Next Office. ©Salar Motabari
A casa Sharifi-ha do atelier Next Office em Tenran, no Irão, foi um dos poucos projectos que me chamaram atenção durante o meu período de férias.
Não sou fã dos interiores deste edifício, mas, não posso deixar de fazer referência ao excelente trabalho que este atelier realizou com a fachada. Adorei a ideia da mutação/metamorfose, que me fez lembrar os conhecidos - Transformres - e as diferentes disposições que estes volumes revestidos a madeira podem adquirir. Acima o conceito e algumas imagens que explicam todo o processo. 
O projecto completo pode ser visto aqui. Take a look! 
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subtilitas:

Panovscott - House JC renovation, Sydney 2013. Photos (C) Brett Boardman.
subtilitas:

Panovscott - House JC renovation, Sydney 2013. Photos (C) Brett Boardman.
subtilitas:

Panovscott - House JC renovation, Sydney 2013. Photos (C) Brett Boardman.
subtilitas:

Panovscott - House JC renovation, Sydney 2013. Photos (C) Brett Boardman.
subtilitas:

Panovscott - House JC renovation, Sydney 2013. Photos (C) Brett Boardman.
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urhajos:

Lego Springfield
urhajos:

Lego Springfield
urhajos:

Lego Springfield
urhajos:

Lego Springfield
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ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
ombuarchitecture:

Plasticity
What: Church of St. Pierre Built by: Le Corbusier & José OubrerieWhen: Construction began in 1971 but was abandoned, it restarted and ended in 2006.Where: Firminy Vert, FranceVisited: June 2013 
By Miroslava Brooks
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archatlas:

MAS | Museum Aan de Stroom Neutelings Riedijk Architects
archatlas:

MAS | Museum Aan de Stroom Neutelings Riedijk Architects
archatlas:

MAS | Museum Aan de Stroom Neutelings Riedijk Architects
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ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
ombuarchitecture:

Casa Mestre
Valle de Bravo • México
by Dellekamp
via Plataforma Arquitectura
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archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
archatlas:

Nature Concert Hall Didzis Jaunzems Architecture
"Pavilion / stage for “Nature Concert Hall” is designed as an art object that unifies all main atmosphere making components of the event – space, light, video and music. Under the roof of the pavilion is a place for academic symphonic chamber orchestra of 20 people and Nature Concert Hall music band. The elevations of the pavilion serves as a screen for video and light projections. Architectural volumes are referring to existing elements in the nature. The structure of the pavilion is made in a way to reduce the amount of points touching the protected biotope meadow."
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archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times
archatlas:

Katherine Baxter
"Katherine Baxter’s work is exquisite, whether small or large scale. Meticulous research goes into every ‘jewel’ like piece, and the pleasure she derives from producing these, is communicated to us all. There is complete mastery of the axonometric projection, as can be appreciated in her grand London and New York posters. It is, as if one is transported by hot air balloon, floating gently over all those much loved and beautifully painted landmarks.” David Driver Head of design, The Times