nnmprv:

Casa Solo by Mauricio Pezo and Sofia von Ellrichshausen.

(via psssm)

elarafritzenwalden:

House in Colònia Güell
Santa Coloma de Cervelló, Barcelona province, Spain; 1990-94

Taken from “Quaderns d’arquitectura i urbanisme, 203” (1993)

Josep Llinàs

(via sixtensason)

Penthouses, Ed Hila, 2013.

llslh:

Sancaklar Mosque, 2011, Istanbul, Turkey
http://www.emrearolat.com/

llslh:

Sancaklar Mosque, 2011, Istanbul, Turkey

http://www.emrearolat.com/

(Source: lulusalehdiary, via archoftheworld)

Grattacielo orizzontale in via Harar, Milano, 1951-55.
Luigi Figini, Gino Pollini

Casa e studio Portaluppi, Milano, 1935-38
Piero Portaluppi

competition_”A house for Karl Friedrich Schinkel”, Leça da Palmeira, 1979

Eduardo Souto de Moura

(Source: elarafritzenwalden, via lightfoot4010)

Jean Prouvè

Salford meadows white bridge, Fala atelier

Panneaux Sunghee Lee

(Source: archatlas, via thekhooll)

Donna che si specchia, Amleto Cataldi.

Donna che si specchia, Amleto Cataldi.

Sangrail, a poem written by František Střížovský. Illustrated by Břetislav Štorm , via josefskrhola on Flickr.

Sangrail, a poem written by František Střížovský. Illustrated by Břetislav Štorm , via josefskrhola on Flickr.

(Source: timoni, via typographie)

poster by Butthole Gibby Haynes, ca. 1982 

poster by Butthole Gibby Haynes, ca. 1982 

(Source: poison303)

plusarchitekt:

Alfabeto delle pianure - Enrico Bedolo

The project Alfabeto delle Pianure (The Alphabet of the Plains) highlights objects found in the flat, highly fertile territory of the Po river countryside, following a very precise method.

The isolation of the object, the framing and the light always constant, the uniformity of the landscape make these objects (religious buildings, sewers, cisterns, abandoned houses, ruins of inhabitations) metaphysically lyrical, deny them any anecdotal possibility (no figure in sight, and almost always uninhabitable pieces of architecture) and turn them almost into mere signs of themselves.

Moreover, the homogeneity of the method confers intensity to the variants and draws attention to the forms, the consonances (the rhymes) and the hints at elsewhere: the Romanesque parish church is the same shape as the farmhouse, the black cistern in the thicket is like some maleficent figure from a fairytale, Nature’s slow labour (but here we are in one of the most intensely anthropized agricultural landscapes on the planet) reabsorbs ruins, historical facades and constructions to regulate the waters. 

Nothing picturesque, nothing nostalgic. The landscape proposed here is a contemporary agricultural one, albeit meta-historical, that reveals through the slowness and insistence of the eye aspects which are invisible, perhaps because it is outside any potentially promotional narrative context: these elements belong to history and to the very texture of the landscape of the plain, they all but constitute the inventory of a memories removed.

Veronese+Palladio, refettorio del convento di San Giorgio Maggiore a Venezia