Thats just life. control a bit out of control to the rest.
~ Thursday, September 18 ~
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steampunktendencies:

The Royal Greenhouses of Laeken (DutchKoninklijke Serres van LakenFrenchSerres Royales de Laeken), are a vast complex of monumental heated greenhouses in the park of the Royal Palace of Laeken in the north of Brussels. It is one of the major tourist attractions of the city.

The complex was commissioned by King Leopold II and designed by Alphonse Balat. Built between 1874 and 1895, the complex was finished with the completion of the so-called “Iron Church”, a domed greenhouse that would originally serve as the royal chapel. The total floor surface of this immense complex is 2.5 hectares (270,000 square feet). 800,000 liters (over 200,000 US gallons) of fuel oil are needed each year to heat the buildings.

The complex can only be visited during a two-week period in April–May each year, when most flowers are in full bloom.

Credits : [Wikipedia] [Olivier Polet] [Luc Viatour]


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~ Monday, September 15 ~
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ryanpanos:

House in Miyake | Hidetaka Nakahara Architects | Yoshio Ohno Architects | Via


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~ Monday, September 8 ~
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subtilitas:

Louis Kahn’s unbuilt Hurva Synagogue, as rendered by Kent Larsen for the book Unbuilt Masterworks, a collection of digital constructions of Kahn’s proposals. Image via.

subtilitas:

Louis Kahn’s unbuilt Hurva Synagogue, as rendered by Kent Larsen for the book Unbuilt Masterworks, a collection of digital constructions of Kahn’s proposals. Image via.


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~ Saturday, September 6 ~
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designcube:

Greedy Pig by Luka Or


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~ Thursday, September 4 ~
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ryanpanos:

New York City: Revisited | Martin Dietrich | Tumblr


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wherearchitectureisfun:

WAÏF: Extreme Stages

Bregenzer Festspiele (Bregenz Festival) is a performing arts festival which is held every July and August in Bregenz, Austria.

Founded in 1946, the festival presents a wide variety of musical and theatrical events in several venues.

Seebühne (or floating stage), with 7,000 seats, is the location for large-scale opera or musical performances on a stage over water on the shores of Lake Constance. Opera or musical productions on the floating stage generally tend to come from the popular operatic repertoire, but often are extravagantly original and innovative productions/ stagings, frequently using the waters of the lake as an extension of the stage

source


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~ Thursday, August 14 ~
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COCKATOO ISLAND: A GRAPHIC CARTOGRAPHY: DEAD (PAN)

cloudzwatching:

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Cockatoo Island: A Graphic Cartography: Dead (Pan) – Peng Hu & Shieyee Tham

Urban Islands, Sydney, Australia (Jimenez Lai & Joanna Grant)



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emt-monster:

The beautiful brain. Sagittal, coronal and horisontal view.


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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.

(Source: super-architects.com)


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