Franklin D. Roosevelt Four Freedoms Park
Architect: Louis Kahn
Location: New York City at the southernmost point of Roosevelt Island
Year: 2012 Franklin D. Roosevelt Four Freedoms Park
Architect: Louis Kahn
Location: New York City at the southernmost point of Roosevelt Island
Year: 2012 Franklin D. Roosevelt Four Freedoms Park
Architect: Louis Kahn
Location: New York City at the southernmost point of Roosevelt Island
Year: 2012

Franklin D. Roosevelt Four Freedoms Park

Architect: Louis Kahn

Location: New York City at the southernmost point of Roosevelt Island

Year: 2012

Architects: Project MeganomLocation: Nikolo-Lenivets, Kaluga Oblast, RussiaArchitects In Charge: Yury Grigoryan, Pavel Ivanchikov, Iliya Kulesov, Alexandra Pavlova, Yury KuznezovYear: 2006Photographs: Yury Grigoryan Architects: Project MeganomLocation: Nikolo-Lenivets, Kaluga Oblast, RussiaArchitects In Charge: Yury Grigoryan, Pavel Ivanchikov, Iliya Kulesov, Alexandra Pavlova, Yury KuznezovYear: 2006Photographs: Yury Grigoryan

Architects: 
Location: , Kaluga Oblast, Russia
Architects In Charge: Yury Grigoryan, Pavel Ivanchikov, Iliya Kulesov, Alexandra Pavlova, Yury Kuznezov
Year: 2006
Photographs: Yury Grigoryan

Arènes de Picasso in Marne La Vallée

"I call architecture frozen music." - Johann Wolfgang von Goethe



"When you see an aging building or a rusted bridge, you are seeing nature and man working together. If you paint over a building, there is no more magic to that building. But if it is allowed to age, then man has built it and nature has added to it — it’s so organic." - David Lynch

Abandoned Stock Exchange build in the 19th century, but abandoned in 2003 due to fire regulations, Belgium. Photo via Urban Ghosts.

robstephenson:

Another view of the River Park Towers, Bronx 2014

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robstephenson.com
cjwho:

The Brain, Seattle WA by Olson Kundig Architects
The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.
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cjwho:

The Brain, Seattle WA by Olson Kundig Architects
The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

The Brain, Seattle WA by Olson Kundig Architects
The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

The Brain, Seattle WA by Olson Kundig Architects
The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

The Brain, Seattle WA by Olson Kundig Architects
The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe

cjwho:

The Brain, Seattle WA by Olson Kundig Architects

The Brain is a 14,280 cubic-foot cinematic laboratory where the client, a filmmaker, can work out ideas. Physically, that neighborhood birthplace of invention, the garage, provides the conceptual model. The form is essentially a cast-in-place concrete box, intended to be a strong yet neutral background that provides complete flexibility to adapt the space at will. Inserted into the box along the north wall is a steel mezzanine. All interior structures are made using raw, hot-rolled steel sheets.

CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe

fuckyeahbrutalism:

Elementary School, Aesch, Switzerland, 1963

(Förderer, Otto, Zwimpfer)

Paul de Ruiter -  Villa Kogelhof , Netherlands
‘villa kogelhof’ has been designed to be entirely self-sufficient Paul de Ruiter -  Villa Kogelhof , Netherlands
‘villa kogelhof’ has been designed to be entirely self-sufficient

Paul de Ruiter -  Villa Kogelhof , Netherlands

‘villa kogelhof’ has been designed to be entirely self-sufficient

"Diminish and Ascend," Infinite Staircase by David McCracken, Bondi, Australia
"On a good day, art can be a portal to another dimension. On a great day, it’s a staircase to nowhere"
Depending on the atmosphere and weather conditions, the stairway appears to reach beyond the clouds into the celestial realms overhead. "Diminish and Ascend," Infinite Staircase by David McCracken, Bondi, Australia
"On a good day, art can be a portal to another dimension. On a great day, it’s a staircase to nowhere"
Depending on the atmosphere and weather conditions, the stairway appears to reach beyond the clouds into the celestial realms overhead.

"Diminish and Ascend," Infinite Staircase by David McCracken, Bondi, Australia

"On a good day, art can be a portal to another dimension. On a great day, it’s a staircase to nowhere"

Depending on the atmosphere and weather conditions, the stairway appears to reach beyond the clouds into the celestial realms overhead.

DROP CITY
Drop City was an artists’ community that formed in southern Colorado in 1965. Abandoned by the early 1970s
In 1965, the four original founders, Gene Bernofsky (“Curly”), JoAnn Bernofsky (“Jo”), Richard Kallweit (“Lard”) and Clark Richert (“Clard”), art students and filmmakers from the University of Kansas and University of Colorado, bought[ a 7-acre (28,000 m2) tract of land about four miles (6 km) North of Trinidad, in southeastern Colorado. Their intention was to create a live-in work of Drop Art, continuing an art concept they had developed earlier at the University of Kansas. Drop Art (sometimes called “droppings”) was informed by the “happenings” of Allan Kaprow and the impromptu performances, a few years earlier, of John Cage,Robert Rauschenberg, and Buckminster Fuller, at Black Mountain College.
As Drop City gained notoriety in the 1960s underground, people from around the world came to stay and work on the construction projects. Inspired by the architectural ideas of Buckminster Fuller and Steve Baer, residents constructed domes and zonohedra to house themselves, using geometric panels made from the metal of automobile roofs and other inexpensive materials.
The community grew in reputation and size, accelerated by media attention, including news reports on national television networks. The peak of Drop City’s fame was the Joy Festival in June 1967,which attracted hundreds of hippies, some of whom stayed on. With the complex of eight domes and geometric buildings constructed, Curly and Jo, the only official owners of the property, signed it over to a non-profit corporation consisting of the entire core group (then about a dozen). The deed stipulated that the land was “forever free and open to all people”.But tensions and personality conflicts were already a problem within the group, and soon became unbearable. By the end of 1968, some of the original occupants of the community had moved to Boulder, Colorado to start an artists’ cooperative, “Criss-Cross”, whose purpose, like Drop City’s, was to function in a “synergetic” interaction between peers (no bosses) to create experimental artistic innovation.  DROP CITY
Drop City was an artists’ community that formed in southern Colorado in 1965. Abandoned by the early 1970s
In 1965, the four original founders, Gene Bernofsky (“Curly”), JoAnn Bernofsky (“Jo”), Richard Kallweit (“Lard”) and Clark Richert (“Clard”), art students and filmmakers from the University of Kansas and University of Colorado, bought[ a 7-acre (28,000 m2) tract of land about four miles (6 km) North of Trinidad, in southeastern Colorado. Their intention was to create a live-in work of Drop Art, continuing an art concept they had developed earlier at the University of Kansas. Drop Art (sometimes called “droppings”) was informed by the “happenings” of Allan Kaprow and the impromptu performances, a few years earlier, of John Cage,Robert Rauschenberg, and Buckminster Fuller, at Black Mountain College.
As Drop City gained notoriety in the 1960s underground, people from around the world came to stay and work on the construction projects. Inspired by the architectural ideas of Buckminster Fuller and Steve Baer, residents constructed domes and zonohedra to house themselves, using geometric panels made from the metal of automobile roofs and other inexpensive materials.
The community grew in reputation and size, accelerated by media attention, including news reports on national television networks. The peak of Drop City’s fame was the Joy Festival in June 1967,which attracted hundreds of hippies, some of whom stayed on. With the complex of eight domes and geometric buildings constructed, Curly and Jo, the only official owners of the property, signed it over to a non-profit corporation consisting of the entire core group (then about a dozen). The deed stipulated that the land was “forever free and open to all people”.But tensions and personality conflicts were already a problem within the group, and soon became unbearable. By the end of 1968, some of the original occupants of the community had moved to Boulder, Colorado to start an artists’ cooperative, “Criss-Cross”, whose purpose, like Drop City’s, was to function in a “synergetic” interaction between peers (no bosses) to create experimental artistic innovation. 

DROP CITY

Drop City was an artists’ community that formed in southern Colorado in 1965. Abandoned by the early 1970s

In 1965, the four original founders, Gene Bernofsky (“Curly”), JoAnn Bernofsky (“Jo”), Richard Kallweit (“Lard”) and Clark Richert (“Clard”), art students and filmmakers from the University of Kansas and University of Colorado, boughta 7-acre (28,000 m2) tract of land about four miles (6 km) North of Trinidad, in southeastern Colorado. Their intention was to create a live-in work of Drop Art, continuing an art concept they had developed earlier at the University of Kansas. Drop Art (sometimes called “droppings”) was informed by the “happenings” of Allan Kaprow and the impromptu performances, a few years earlier, of John Cage,Robert Rauschenberg, and Buckminster Fuller, at Black Mountain College.

As Drop City gained notoriety in the 1960s underground, people from around the world came to stay and work on the construction projects. Inspired by the architectural ideas of Buckminster Fuller and Steve Baer, residents constructed domes and zonohedra to house themselves, using geometric panels made from the metal of automobile roofs and other inexpensive materials.

The community grew in reputation and size, accelerated by media attention, including news reports on national television networks. The peak of Drop City’s fame was the Joy Festival in June 1967,which attracted hundreds of hippies, some of whom stayed on. With the complex of eight domes and geometric buildings constructed, Curly and Jo, the only official owners of the property, signed it over to a non-profit corporation consisting of the entire core group (then about a dozen). The deed stipulated that the land was “forever free and open to all people”.But tensions and personality conflicts were already a problem within the group, and soon became unbearable. By the end of 1968, some of the original occupants of the community had moved to Boulder, Colorado to start an artists’ cooperative, “Criss-Cross”, whose purpose, like Drop City’s, was to function in a “synergetic” interaction between peers (no bosses) to create experimental artistic innovation. 

The abandoned Wonderland Amusement Park outside Beijing, China

jaimeux:

The abandoned Wonderland Amusement Park outside Beijing, China

n-architektur:

Private residence Kokkoni

WORKSHOP - DIONISIS SOTOVIKIS 

(via masablog)