.

I'm Italian boy that likes fixed bike and architecture

[parbike]

Girovagando pt.2

[parbike]

Girovagando pt.1 ◻️

[remash]

zen houses ~ petr stolín architekt | petr stolín, alena mičeková | photos © alex timpau 

[parbike]

RDHK Milan 2016

[parbike]

RDHK 2016, Milan

[spatula]

(via Music Hall and House in Algueña by Cor & Asociados | Dezeen)

[architecture-drawings]

John Lautner

[parbike]

Siena 2016

[fabriciomora]

A Model (Danish pavilion, Venice architecture biennale ) - Tyra Lea Amdisen Dokkedahl, Architect Frida Sophie Vang Petersen, Architect Victor Gammelgaard, Architect Thais Kvejborg Espersen, Architect 

Images shall be credited Niklas Adrian Vindelev and Leonora Krag

A group of four, young architects, graduated from The School of Architecture, The Danish Royal Academy of Art, and UCL Bartlett, is behind the project A Model. The project is a collective remake of Tyra Dokkedahl’s thesis project from 2012. It is supported by the Danish Art Workshops and is selected for the exhibition ‘Art of Many - Right to Space’ in the Danish pavilion at La Biennale di Venezia 2016.

[archatlas]

Mendes da Rocha’s Houses

A collection of photographs by Leonardo Finotti of a selection of Mendes da Rocha’s houses.

From the Jury Citation of the 2006 Priztker Prize:

Paulo Mendes da Rocha of Sao Paulo, Brazil, inspired by the principles and language of modernism, as well as through his bold use of simple materials, has over the past six decades produced buildings with a deep understanding of the poetics of space. He modifies the landscape and space with his architecture, striving to meet both social and aesthetic human needs.

Adhering to a social vision commensurate with the new world, he reminds us that architecture is foremost a human endeavor inspired by nature’s omnipresence. The vast territory of his country has given this architect a rich lineage to harness and reconcile nature and architecture as congruent forces.

His signature concrete materials and intelligent, yet remarkably straightforward construction methods create powerful and expressive, internationally-recognized buildings. There is no doubt that the raw materials he uses in achieving monumental results have had influences the world over.

Images via text via

[cubontinism-blog]

Schulitz Architects - Haus In Beverly Hills

[ofhouses]

315. Kenzo Tange /// Tange House /// Seijo, Tokyo, Japan /// 1951-1953

OfHouses presents “Pritzkers’ First Houses, part IV”: Kenzo Tange (Pritzker 1987) was the most important Japanese architect in the 20th Century. The only house he designed was his family’s residence in Seijo. Tange elegantly managed to reconcile here the Western modernism with the Japanese tradition and is no wonder that Kazuo Shinohara, the other grandmaster of Japanese architecture, took the Tange House as the main reference for his first project (the House in Kugayama, 1954). (Photos: Ezra Stoller/ESTO.)

[ofhouses]

314. Gordon Bunshaft /// Travertine House /// Georgica Pond, East Hampton, New York, USA /// 1962

OfHouses presents “Pritzkers’ First Houses, part IV”: Gordon Bunshaft (Pritzker 1998) designed only one house during his career. His own retreat in the Hamptons, a concrete structure with travertine walls, was home to Bunshaft’s extraordinary collection of modern art: Moore, Miro and Giacometti in the garden; Picasso, Dubuffet and Leger on the walls. Bunshaft left the house and the collection as a bequest to the MoMA. The museum kept the art, but the property was put on the market. Martha Stewart bought it and commissioned John Pawson to design an extension. The planned swimming pool and guest bedrooms were not completed, but the house and garden were left mutilated being recognition. The blocks of Italian travertine were halved and now adorn Martha’s kitchen… The house was finally demolished in 2005 by Donald Maharam, who bought the lot from Stewart. Asked why he didn’t tried to repair the existing structure, Maharam replied: “We bought a great piece of property. We didn’t buy a house.” (Photos: © Ezra Stoller/ESTO.)

[ofhouses]

303. Team 4 /// Creek Vean /// Feock, Cornwall, UK /// 1964-1966

OfHouses presents “Pritzkers’ First Houses, part III”: Sir Norman Foster (Pritzker 1999) established his first architectural practice in 1963, together with Richard Rogers (Pritzker 2007) and their girlfriends at the time Wendy Cheesman and Su Brumwell. The practice, named Team 4, debuted with the ‘Creek Vean’ residence for Su Brumwell’s parents and received immediate critical acclaim. However, the office was dissolved soon after. Foster established ‘Foster and Partners’ and Rogers went later on in partnership with Renzo Piano and established ‘Piano and Rogers’. (Photos: © Foster and Partners, Rogers Stirk Harbour + Partners.)

[parbike]

Fondazione Prada ◾️◽️ Wes Anderson-Rem Koolhass (presso Fondazione Prada)

[arkitekcher]

22 Housing  |  Nadau Lavergne Architects Location: Annemasse, France  |  Renders: 01. 02. 03

[archatlas]

China Academy of Arts’ Folk Art Museum Kengo Kuma & Associates

From the architect:

The Central Academy of Fine Arts (CAFA) in Beijing and China Academy of Art in Hangzhou serve a central role in the field of art education in China. This museum which was planned for the China Academy of Art in the outskirts of Hangzhou was designed with the objectives of being in harmony with the environment and proposing a new relationship between people and art by creating seamless and highly diverse display spaces. The structures were designed with cross-sections that blend in with the mountain slope to instead of grading it, with the respective display spaces seamlessly being revealed as you go through the museum.

Roof tiles used to cover old homes in the area were gathered, and these and various other locally available materials with rich textures such as cedar were used inside. The group of small roofs that were made using these tiles give the museum the appearance of a village. The tiles are held in place with stainless steel wire to create a screen which controls the light and view, and a façade that has a rich variation of shadows. This methodology proposes the idea that rather than the gardens being in contrast with the architecture, the soil from the tea gardens is gradually transformed into the man-made architecture.

Images and text via Kengo Kuma & Associates