always a reference: The Archigram Archival Project
OTTO WUNSCH AND OTTO MOLLENHAUER
OFFICE BUILDING FOR THE VERWALTUNGS-BERUFSGENOSSENSCHAFT, KAPSTADTRING/ÜBERSEERING HAMBURG CITY NORD, 1963-1966, DEMOLISHED 2004
siempre únicos / always unique
S&Aa . Federico Soriano Y Asociados
new taipei city museum of art . taipei
via afasiaarq
Look-a-like… Lubetkin vs Campo Baeza
Penguin Pool (Berthold Lubetkin) vs. Museo de la Memoria de Andalucía (Alberto Campo Baeza)
via parasite visions
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The mirror tower
(txt by Omar Harb arch.) via skyscrapercity
Every city is remarkable, yet clearly some are more so than others, however Beirut is an exceptional urban phenomenon. The 486 MINA EL HOSN, the ‘mirror-tower’ designed by LAN Architecture, which is absolutely novel in concept: the building’s casing will reflect the city surrounding it. One will be able to see it from everywhere, and everywhere one’s view will bounce off its mobile surface into the surrounding city, showing Beirut in all its myriad facets. The building is a living, animated, changing entity. Behind this innovative technology lies a guiding idea: the impressive outline of 486 MINA EL HOSN, soaring above the skyline, will enable a kind of moving and poetic visual reconstitution of the city – a way of making Beirut itself, its light, diversity, districts and cultures, the tower’s very essence.
Look-a-like… Otto Wagner vs Star Wars
via arquitextonica via estudiosalvaje:
Otto Wagner’s 1880 design for the central offices of the Vienna Giro und Kassenverein competition versus designer Ralph McQuarrie Millennium Falcon (Han Solo’s ship) in Star Wars.
(Source: aurasalvaje)
On parametricism
A BRIEF TIRADE OF HATE BY VIVIANE HUELSMEIER
“Parametricism is the great new style after modernism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation.”
“The key issues that avant-garde architecture and urbanism should be addressing can be summarized in the slogan: organising and articulating the increased complexity of post-fordist society. The task is to develop an architectural and urban repertoire that is geared up to create complex, polycentric urban and architectural fields which are densely layered and continuously differentiated.”
Look-a-like… Pei vs Foster
I.M. Pei, Oversea Chinese Banking Corporation, Singapore, 1976
Foster & Partners, Torre Caja Madrid, 2009
(via emilytatlin)
Who lives there?
madrid is a wonderful city, and there are many reasons to why it is. one of them would be the attention and care that the city puts in its designed environment. not to sound cheesy or anything, but it is felt through the eyes and skin that architecture is regarded as something more pertinent here. the periphery of central madrid is like a basket full of small surprises; colorful contemporary social housing units are strung all over. i have only scraped the icing of a cake by going to carabanchel, which contains the ever so famous housing projects by FOA and morphosis…
»> It’s surprising how the inhabitants of those buildings that WE architects or designers glorify feel just the opposite. I guess that the fact that they didn’t choose to live there -the majority of the buildings mentioned before are social housing that are assigned to families in need- and can’t sell or rent the house in a 10-year-period-time makes it more of a “trap” than an opportunity. In the link below you can see the complaints and inquiries of the people currently living in these ” art boxes”:
WHO LIVES THERE?:: http://www.rtve.es/television/20091116/comando-actualidad-quien-vive-ahi/301133.shtml
Photoshop urbanism
Via the blog Mika Savela I found this very clever proposal for displays of art in a pedestrian tunnel, located under a downtown commercial complex in Tallinn. I know nothing about the project, but I find it very interesting to use the actual image of the softwares we work with to generate photomontages instead of a “false” and retouched optical illusion.
Diffusive architecture I
Viendo estas imágenes he recordado cuando, hace ya algún tiempo, un profesor nos pidió que teníamos que conseguir dibujar la arquitectura que estábamos proyectando sin dibujar los muros. Habíamos realizado un análisis previo sin tenerlos en cuenta y estábamos hablando del uso del espacio público en India. Durante los 2 siguientes meses de taller intentamos representar de mil maneras el espacio que estábamos imaginando: mediante flujos, coches, suciedad, agua, olores, etc. Finalmente nos entró el pánico de la entrega y acabamos dibujando los muros. Era como si hubiésemos empezado a andar en bici sin manos y al llegar a meta nos hubiésemos agarrado al manillar como si nos fuese la vida en ello. Aún me da pena ver la entrega final…
“En la actualidad exterior e interior ya no son situaciones que se deban producir por oposición, con una frontera que los delimita. Los cerramientos se han esponjado… los forjados se han hojaldrado… Por lo tanto los muros crean ambientes pero no recintos. La estructura sólo sirve para construir un techo.
El espacio es fraccionado-repartido-distribuído por estructuras, flujos de tráfico, vectores, etc. Sin imagen. Sin materia. Etéreo. Ágil. Volátil. No es el espacio libre con los usos que fluyen de un lugar a otro. Es la composición, por usar una palabra clásica y que todos entendemos, sin la ayuda de los órdenes conocidos. En la planta flucuante las piezas se atraen y repelen desde unas distancias casi magnéticas. No hay rupturas. Tan sólo encaje y entrelazamientos.”
txt (Revista El Croquis nº82. Hacia una definición de la planta profunda, anamórfica y fluctuante. Federico Soriano)
img (series of drawings by Luke Bray and Rob Stevens(via diffusive architecture))
(Blooming landscape deep surface. Proposal for the Grand Egyptian museum. Smout Allen)
(Apartamentos Calle Mercaders. Enric Miralles. 1995)
(Extensión Royal Museum Copenhagen. Enric Miralles. 1992)
(Centro de Artes Visuales Sainsbury. Norman Foster, 1974-78)
Borderline
Nigel Peake es un ilustrador que ha destacado por su habilidad para cartografiar ciudades y lugares. Su Thesis fue destacada por el RIBA (Royal Institute of British Architects) con el Silver Award. Se trata de un estudio sobre las condiciones de frontera de la ciudad de Estambul y más concretamente en la rehabilitación del puente de Gálata como una superestructura de programas mixtos.
