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@ivanvcz
spectral compass 36x24 in 2018
Paria Coby Cobb
Playing Catch by Tambako The Jaguar
Muslim Cultural Center
Architectural Design & Research Institute of SCUT
Dachang County, Hebei Province, China
Photographs: Yao Li
Residência São Luis do Paraitinga
São Paulo, Brazil
Libeskindllovet Arquitetos
Photographs: Alain Brugier
La tendencia en actual en museos es convertirlos en una obra de complejidad y belleza en si misma, más allá de la colección o muestra que acoja. Pero en este caso, esa belleza no pasa por una excentricidad megalomaníaca, sino por centrarse en todo lo contrario: lograr una pureza formal que llame la atención por su abstracción, simpleza y sobriedad. Está claro que esto es todo un desafío en un edificio de estas dimensiones, donde aparecen múltiples sistemas que esconder, con lo que a su manera también es una demostración de forma y contenido.
kazuyo sejima - sumida hokusai museum, tokyo
Crear un volumen completo para luego desarmarlo en partes programáticas que se desplazan unas de otras es una forma de intencionar un modo de habitar, que privilegia los recintos y su interacción a través de pasillos, ventanas y alturas, de manera más indirecta. A su vez permite posicionar vistas al entorno de manera sutil, como forma de separar más los diferentes volúmenes que se crean.
bracket design studio - the concrete cast villa 131, isfahan, iran
Cathedral of San Carlos Borromeo, Puno (c. 1750 - 1790)
The villa of San Carlos de Puno was founded in 1668 to be a provincial capital and seat of a corregimiento, replacing the old town of Paucarcolla. The matriz or parish church, dedicated to Saint Charles Borromeo, was probably built around this time, but it was totally replaced by a new building in the mid eighteenth century. The construction must have begun around 1750, with the economic aid of the rich miner Miguel Jacinto de San Román Zeballos and it probably reused part of the existing structure. The lateral portal has a date inscribed, 1754, and in the main portal facing the plaza an inscription states that it was finished in 1757. Despite this facts, the walls of the church were not finished until 1778 and the stone vaults until approximately 1794.The church became a Cathedral when the bishopric of Puno was created in 1867.
The church has a latin cross plan, with a single nave, long transept and deep presbytery covered with barrel vaults, and a large dome over pendentives in the crossing, all built entirely in brown stone. The interior is extremely austere, with very little decoration. The furnishing belongs entirely to the nineteenth and twentieth century due to a fire that took place in 1935.
The main facade consists of a large portal flanked by a tower on each side. The portal, two stories high with three sections in the first story and one in the second, is an excellent example of planiforme architecture, and stylistically related to arequipeño architecture. The term planiforme refers to the flat-like carving of the stone that covers almost every surface of the portal. Also, the columns that constitute the structure of the portal are not strictly salomonic: instead of the spirals characteristic of these, a flat band carved with a vine pattern seems to be entwined in the shaft of the column, a common feature in contemporary portals in the lake area. The ornamental repertory includes the placing of sirens - legendary creatures half woman - half fish - playing the charango (small Andean guitar) between the columns in the first story of the portal. In the spandrels of the arch that constitutes the door to the church an inscription states that the portal was finished in 1757, and that it was built by Simón de Asto, an indian mason.
Two smaller portals complete the exterior decoration of the church, one on each side of the nave. Both are very similar in design, only one story high with a very large tympanum on top, all carved in planiforme style. One particular feature is the presence of salomonic pilasters inside the jambs of the door.
The towers are two stories high, with a base almost completely void of ornamental details and a belfry consisting of one arched opening on each side flanked by Corinthian columns placed over huge carved brackets. A small dome surrounded by pinnacles tops off the belfry.
All photos by me (2017)
Plan by Ramón Gutiérrez.
Sincretismo
/ Sincretism
Offices in Zamora
Zamora, Spain
Alberto Campo Baeza
Photographs: Javier Callejas
La madera otorga una flexibilidad y liviandad constructiva que amerita plasmar en las obras. En este caso, se adapta al terreno para crear accesos y patios y se despega de él con total soltura para volverse mirador, terraza en altura. La expresión interna de la estructura y el palillaje de ventanas hablan de esta soltura y liviandad, que a ratos aparece como volúmen y a ratos como un simple entramado que te mete al bosque en que se emplaza.
sebastian irarrazaval - 2y house, chile
Un proyecto puede entenderse desde una lógica inversa, como este extraño edificio, que debiera entenderse como una tecnología de punta que permite elevarse hacia el cielo gracias a materiales y tácticas de última generación, pero que prefiere camuflarse como una especie de “caverna vertical”, en un ejercicio de brutalismo exterior que lo acerca más a una obra prehistórica. El contraste que genera entre su geometría más pura y sus perforaciones azarosas se replica al interior al mostrar una tecnología casi futurista con sus pisos transparentes.
lucio morini arquitectos - experimenta 21 tower, cordoba, argentina
Last Light by decompreSEAN | LVSH
Blacked Out i8 by Justin Boruta