Pauls Pinnwand

(via ataqueaereo)

— Vor 8 Stunden mit 3 Anmerkungen

#architecture

ataqueaereo:

México

— Vor 9 Stunden mit 34 Anmerkungen

#mexico #architecture

theblackworkshop:

Hiroyuki Shinozaki, House T, Tokyo Japan

(via apx2obx)

— Vor 9 Stunden mit 1650 Anmerkungen

#architecture #japan

redhousecanada:

wandrlust: jesuisperdu:

walker evans

Chrysler Building under construction, New York 1929

— Vor 9 Stunden mit 2645 Anmerkungen

#Chrysler Building #architecture #new york

historicporn:

Nasa before Powerpoint, 1960’s.

(via toostoked)

— Vor 9 Stunden mit 590 Anmerkungen

aurasalvaje:

Unite d’habitation

(via 33arquitectures)

— Vor 9 Stunden mit 112 Anmerkungen

#architecture

(via architags)

— Vor 9 Stunden mit 51 Anmerkungen

#architecture #townhouse #living

rationalistarchitecture:

Michael Meier Marius Hug Architekten

Zurcherstrasse, Frauenfeld, 2009

— Vor 1 Tag mit 3 Anmerkungen

#architecture

rationalistarchitecture:

Aldo Rossi

Casa Aurora, Turin, 1987

— Vor 1 Tag mit 7 Anmerkungen

#alfo rossi #architecture

(Quelle: ummhello)

— Vor 2 Tagen mit 197 Anmerkungen

#concrete #architecture

ffffffound:

Mark Boyce

— Vor 2 Tagen mit 40 Anmerkungen

#skateboard #art #fffffound

detail-de:

Rot Schwarz Grün: Landschaftspark in Kopenhagen von Topotek 1 + BIG Architects + Superflex

— Vor 3 Tagen mit 3 Anmerkungen

#big #architecture #superflex

(Quelle: 546920, via solidspace)

— Vor 4 Tagen mit 69 Anmerkungen

#architecture #dujardin #model

collectivehistory:

Untitled (L-Beams) by Robert Morris ca. 1965

One of Morris’s best-known Minimalist pieces, Untitled (L-Beams) lacks any texture, trace of the artist’s hand or figural content that would otherwise distract the viewer from pure engagement with the arranged forms. The work is composed of three L-shaped forms identical in every way, but positioned differently - one lying on its side, another resting on two edges, and the third standing erect. The forms’ configuration causes them to be perceived as varying in size and shape. Morris’s concern with the experiential aspect of the piece is revealed in his use of polyhedrons - three-dimensional solids with flat faces and straight edges whose forms and shapes could be readily grasped by the viewer. It also underpinned his instructions that the work be arranged differently each time it was to be exhibited so that viewers would experience the work differently as well.

— Vor 4 Tagen mit 38 Anmerkungen

#art #history #L

collectivehistory:

Gardening amid ruins in front of the Reichstag, Berlin, 1945, by David Seymour

(via oktyabrskayaa)

— Vor 4 Tagen mit 499 Anmerkungen

#history #berlin #b/w #reichstag