• Kyle Schumann & Katie MacDonald of After Architecture, Hearth Cabin, 2014 (via arkitekcher)

    "Distilling the components of the classic backwoods cabin down to a wood stove and a stack of firewood, Hearth hybridizes conventionally disjunct elements into a seamless occupiable space — a domestic chimney. Contrasting the vertical timbers of the farm’s wooded landscape, the building takes form as a horizontal layering of wood members, from the slatted rain screen facade to the logs it stows. Stocked with logs that double as both fuel and ornament, the cabin is readily equipped for cold nights. A warm sanctuary in the wooded landscape, Hearth offers an intimate fireside seating area and lodging for two visitors."

    (via architectureuberalles)

  • Simon Ungers, Museum for Russian Revolutionary Art, 2004

  • Simon Ungers, Silent Architecture: Cathedral, Library, Museum, Theatre, 2003-4

  • Simon Ungers, Waterfront Proposal, New York City, NY, 1988

  • Philipp Schaerer, Bildbau No. 1, 2007

    "The rapid development of computer and information technology has fundamentally changed the relationship between image and architecture as well as their perception. In addition to the conventional types of mostly abstract images used until now in the design and planning phases – sketches, plans, elevations or axonometric drawings - a new type of image is now being used: a digitally created image that appears to be a photograph. In the context of architecture, this type of image has until now exclusively been associated with the image of built architecture. Now, it is increasingly used to let something appear real which has yet to be built. This leads to confusion and challenges the claim to reality of images that appear to be photographs. The series of images with the title "Bildbauten“ deals with the effect and the claim to credibility of images of architecture that appear to be photographs. Frontal views of fictional architectures serve as an example. By means of their exaggerated and orchestrated way of representation, they model themselves on the object- like appearance and the formal language of contemporary architecture in a rather ironic way. All images try to reproduce a reality. They are not a photograph; instead, they were newly designed and constructed from scratch by means of image synthesis and digital image editing."

  • Ilya Golosov, “The Pavilion of Far-East Republics” for the All-Russian Agricultural, Handicraft, and Industrial ExhibitionMoscow, Russia, 1923 (via rosswolfe)

  • AA Dutto, Late Entry for the Palace of the Soviets, Moscow, USSR, 2014 (via thegrid)

  • M.C. Escher, Doric Column, 1945 (via aqqindex)

    (via obsessedbythegrid)

  • Gramazio and Kohler, Renderings of Flight Assembled ArchitectureOrleans, France, 2011-2

  • Charles Lyell, “Pillars of Pozzuoli" from the Principles of Geology, 1830

  • Plan of the Baths of the Forum, Ostia Antica, Italy, 193-395 CE

  • If “action painting” is produced by the dynamics of dripping, smearing, and sweeping brushstrokes of paint to reveal the complex character of abstract art, then “action drawing” would be something like juxtaposing lines, planes, volumes, typographical elements, photographs, and paper cutouts on a drawing that aims to uncover the intricate universe of architectural ideas.

    —  WAI, Interview with Perry Kulper, 2014

  • George Smith, “Portrait of Gilgamesh" in The Chaldean Account of Genesis, 1876

  • Miles Gertler, ”Four: Intelligence" from Islands, 2014 (via four-months)

  • El Lissitzky, Proposed Flag Station for the Soviet Pavilion at the Pressa Exhibition, Cologne, Germany, 1928 (via rosswolfe)