Vladimir Tyurin, Intellectual Market, 1987 (via plagiarismisnecessary)
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chronicling a labyrinth of architectural + personal contemplation based in atlanta
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Superstudio, Cube Forest on the Golden Gate, San Francisco, CA, 1972 (via ummhello)
Rem Koolhaas / OMA, Prada Catwalk, Milan, Italy, 2011
Hungarian architect Farkas Molnar (1897–1945), The Red Cube, 1922-3
“He became a leading member of the Modern Movement between the wars. At the Bauhaus he designed his Red Cube House which was to be published, and is associated with Hungarian Activism. In 1929, at the invitation of Gropius, he contributed to the CIAM conference on ‘The Small Apartment’, after which he and others formed the Hungarian branch of CIAM. A powerful protagonist of International Modernism, Molnár designed several white-rendered blocky houses, with bold cantilevers and deep terraces, set in the hills around Budapest, clearly influenced by De Stijl. Some of his designs (e.g. Houses on Cserje (1931) and Lejtö (1932) Streets, Budapest) are paradigms of the International Style that gelled at the Weissenhofsiedlung, Stuttgart, in 1927. His Budapest apartment-blocks on Lotz Károly Street (1933) and Pasaréti Avenue (1937) are also significant. For a brief period in 1933 he collaborated with Breuer before the latter emigrated to America. Molnár was killed during the Soviet siege of Budapest (1945).”
Jakob + MacFarlane, Orange Cube, Lyon, France, 2011 (via eVolo)
“Designed by Jakob + MacFarlane as a part of an urban planning project to replenish the docks of Lyon, the five-storey orthogonal cube plays off the fluid movement of the river saône, exploring the effects of subtraction and voids on the quality and generation of space. Built on a regular framework of 29 x 33 m, the structure stands autonomously on the site, a wharf with a predominantly industrial background. The most noticeable element of the design – its bright orange shade – is an abstraction of lead paint, an industrial color often used for harbor zones. The external skin is a light facade, punctured with a pixilated pattern that resembles trailing droplets, a reference to the adjacent river’s flow. This porous envelope allows sightlines and natural daylighting while establishing a distinct identity for the building. The structural regularity of the cube is broken on the north-west corner which faces the river. Conic in form, the large, diagonally-running void generates new space: a large atrium is created which is circumscribed by a series of outdoor corridors that connect the office platforms together. The facade is pulled into the depth of the volume, resulting in a shift in interior/exterior relations, as well as facilitating light and views. Another volumetric subtraction on the entry and roof level establish direct relations between the building, its users, and the site. Featuring a double-height layout, the ground floor accommodates a design showroom. The display concept, which was also created by jacob + macfarlane architects, was developed as an extrapolation of the ‘orange cube’s architectural language. taking the treatment of the facade, a three-dimensional volume was generated for an L-shaped wall that wraps around the space. Sixty ‘alvéoles’ are used to display furniture pieces, while the unit as a whole define the circulation of the floor.”
