• Zaha Hadid, The Peak Club, Hong Kong, 1983

  • Zaha Hadid, Tatlin Tower and Tectonic Worldwind, 1992 (via archreview)

  • Lebbeus Woods, Conflict Space No. 4, 2006 (via wired)

  • Lebbeus Woods, “Photon Kite” from Centricity, 1988 (via wired)

  • Lebbeus Woods, Inhabiting the Quake, Quake City / San Francisco, CA, 1995

  • Lebbeus Woods, “Concentric Field” from Centricity, 1987 (via wired)

  • Lebbeus Woods, Nine Reconstructed Boxes, 1999 (via wired)

  • Frank Gehry, Architect’s House, Santa Monica, CA, c. 1978 (via alexhoyt)

    My fellow 2009 Davidson graduate Alex Hoyt just wrote a fascinating article on one of the few Gehry buildings I actually like. Check it out here.

  • Leon Krier, Hierarchy and Complexity, c. 2000 (via polis)

  • Bernard Tschumi, The Manhattan Transcripts, 1976-81

  • Bernard Tschumi, The Manhattan Transcripts, 1976-81

  • Alva Sondakh, “Architecture Doodles,” 2011-2 (via drawingarch)

    Makes me wonder if Sondakh has a theory for these “doodles” in a similar manner to that of Bernard Tschumi with his Manhattan Transcripts.

    (Source: ryanpanos)

  • Zaha Hadid, “Blue Beam,” Victoria City Aerial, Berlin, Germany, 1988 (via dezeen)

    "An exhibition of paintings, furniture and installations by Zaha Hadid goes on show at the Ivorypress Space gallery in Madrid this September and runs through November. Presented by curator Kenny Schachter, the exhibition will feature recent projects such as the Z-Chair and the Liquid Glacial Table, as well as older works that include Hadid’s 1980′s paintings of buildings in London, Berlin and Hamburg. Kenny Schachter describes Hadid’s world-view as one in which ‘art, design, and architecture collapse into one another to reflect an all-encompassing way of life characterised by pushing and pulling the boundaries of aesthetics in every conceivable manner and form. What is so inspiring and intriguing about the astounding output of Zaha Hadid, is the imaginative, inventive and unquenchable expression of curiosity and creativity. Hadid defies pigeonholing in a world increasingly defined by uniformity.’”

  • Raffaello Rosselli, Tinshed, Sydney, Australia, 2012 (via petermiller; subtilitas)

    Tinshed is a “renovation of a rusted storage shed in which the corrugated siding was re-purposed.” Apparently, sustainability can acquire the cloak of deconstructivism to generate further meaning. Or, alternatively, deconstructivism can exist today layered in the rhetoric of sustainability.

  • Lebbeus Woods, Decomposed Tower, c. 1985 (via everythingoneplace)

    (via archidose)