Architecture
Building design, aesthetics, and engineering.
Zachary Roush and
Architecture
But I also love the way that buildings are — they’re these huge structures that we have accepted as the places we go in to get what we need, or to sleep, or to work, or whatever. They’re also these huge towering structures. I think of them as if they’re creatures; they’re other kinds of beings. Sometimes we don’t even touch them. I’m interested in... See more
Drew Zeiba • CITY WRITER: Interview with Visual Poet Renee Gladman
Renee Gladman
Absolutely love the details in this project by Shulin .
.
Mountain House in Mist by Shulin Architectural Design
.
.
Nestled in the ancient forests of Wuyi County, Jinhua, Zhejiang Province, the Mountain House in Mist redefines serenity and connection. Surrounded by century-old... See more
instagram.comNicke Bildstein Zaar @niklas.bildstein.zaar
instagram.com
Nicke Bildstein Zaar
Vernacular design outside of architecture
I've been thinking about how this idea applies to design in fields outside of architecture. Architecture is unique in its geographic, climatic, and cultural contexts, since the "localism" aspect is particularly relevant. But there are probably some parallels that could be drawn to modern software design,... See more
I've been thinking about how this idea applies to design in fields outside of architecture. Architecture is unique in its geographic, climatic, and cultural contexts, since the "localism" aspect is particularly relevant. But there are probably some parallels that could be drawn to modern software design,... See more
Coleman McCormick • Designing from Experience, Not Expertise
CasitaMX - Book the Best Homes in Mexico
casitamx.com
This glass block study and house !
.
.
.
@bradswartzarchitects and @studiohenrywilson have punched a big on and how ! 😍🥰
.
Brad Swartz Architects and Studio Henry Wilson have transformed a modest rear lane parking space in Sydney into a luminous laneway home. This... See more
instagram.com
John Pawson - Wooden Chapel
johnpawson.com
A small path leads to the chapel’s entrance, located at the transitional point between woodland and open ground. The architecture is framed as the simplest of gestures. From certain perspectives its mass appears as a pile of logs stacked up to dry; from others the considered placement of the elements on a concrete plinth creates a more formal impression of a piece of sculpture emerging from the forest. The purposefully narrow entry maintains the sense of physical proximity encountered as one moves through the dense trees, adding visceral and visual theatre to the exhilarating experience of passing into an attenuated space over seven metres high and nearly nine metres long.