Anatoly Fomenko, Selection from Monster Brains, c. 1980s (via polychroniadis)
Zoltan Kemeny, Banlieu des Anges, 1958 (via archiveofaffinities)
Richard Oswald, Still from Lucrezia Borgia, c. 1930 (via dcairns)
Vilanova Artigas, Vila Alpina Kindergarten, Santo André, Brazil, 1970 (via polychroniadis)
(Source: fuckyeahbrutalism)
Oscar Niemeyer, Museum Concept, Caracas, Venezuela, 1955 (via polychroniadis)
(Source: igorsoldat)
Martha Schwartz, Bagel Garden, Boston, MA, 1979
“Trained as an artist, Schwartz grew frustrated working as an apprentice in a Cambridge landscape architectural office. Longing for a speedy, inexpensive installation she could accomplish with her own hands, she tackled the 22-foot square front garden of her own Georgian row house in Back Bay. Incorporating two concentric square hedges of an existing formal garden, Schwartz based her scheme on French renaissance gardens, which were designed as stage sets for dances and celebrations. Conceived as the stage set for her husband’s return from a week-long business trip, the front yard also became an ode to the landscape artist’s favorite food: “Bagels are humble, homey, and ethnic,” she explains. “Besides, I could get many of them inexpensively.” Between the outer and inner squares of the 16-inch high boxwood hedges, Schwartz arranged a 30-inch wide strip of purple aquarium gravel dominated by a grid of eight dozen bagels. Each bagel was dipped in marine spar for weatherproofing. Inside the inner square of hedge, she planted 30 purple Ageratum to match the gravel and complement an existing Japanese maple. “Despite the many garden party guests who were helping us celebrate the installation and my husband’s return,” Schwartz recalls, “he was not particularly amused.” The family left within days for a summer in Europe, and the bagels eventually decomposed.”
Francesco de Sanctis, Spanish Steps, Rome, Italy, 1717-25
“Following a competition in 1717 the steps were designed by the little-known Francesco de Sanctis,though Alessandro Specchi was long thought to have produced the winning entry. Generations of heated discussion over how the steep slope to the church on a shoulder of the Pincio should be urbanised preceded the final execution. Archival drawings from the 1580s show that Pope Gregory XIII was interested in constructing a stair to the recently completed façade of the French church. Gaspar van Wittel’s view of the wooded slope in 1683, before the Scalinata was built, is conserved in the Galleria Nazionale, Rome. The Roman-educated Cardinal Mazarin took a personal interest in the project that had been stipulated in Gueffier’s will and entrusted it to his agent in Rome, whose plan included an equestrian monument of Louis XIV, an ambitious intrusion that created a furor in papal Rome. Mazarin died in 1661, the pope in 1667, and Gueffier’s will was successfully contested by a nephew who claimed half; so the project lay dormant until Pope Clement XI Albani renewed interest in it. The Bourbon fleur-de-lys and Innocent XIII’s eagle and crown are carefully balanced in the sculptural details. The solution is a gigantic inflation of some conventions of terraced garden stairs.”
(Source: black-leather)
Photographer Walter Hege, Base of Ionic Column on the North Porch of the Erechtheion on the Acropolis, Athens, Greece, c. 1930 (via METMuseum)
(Source: less-ismore)
Elizabeth Gordon and Frank Lloyd Wright at Taliesin West, Scottsdale, AZ, c. 1959
O.M. Ungers, Competition Design for a High Rise at Landtag, Dusseldorf, Germany, 1991 (via archiveofaffinities)
Allied Architects / Lloyd Wright, Hollywood Bowl, Los Angeles, CA, 1929-37 (viahbhistory)
Viktor Timofeev, ‘Fuksas void,’2009
(Source: viktortimofeev)