• Herbert PontingIceberg, Antarctica, c. 1911 (via poboh)

    (via mythologyofblue)

  • Juan Haro PiñarService Station, Oliva, Spain, 1960 (via wandrlust)

    (via landscapearchitecture)

  • Philip Johnson, “The Study” at the Glass House, New Canaan, CT, 1947-9

  • Aedas, Xi’an Jiaotong–Liverpool University, Suzhou, China, 2014

  • Visionary Vanguard, New Concert Hall, Perth, Australia, 2013-4 (via abc)

  • James Teit, Cosmological Diagram and Plan of the Pit House, Canada, 1928 (via jarzombek)

  • Chapbook Woodcut of a Fairy Circle, c. 1650

  • Genesis of form. Motion is at the root of all growth.

    —  Paul Klee, “On Motion,” c. 1925 (via socks)

  • Atlanta’s basic form - but it is not a form - its basic formlessness is generated by the highway system, a stretched X surrounded by an O: branches running across the city connecting to a single perimeter highway. The X brings people in and out; the O - like a turntable - takes them anywhere. They are thinking about projecting a super-O somewhere in the beyond.

    —  Rem Koolhaas, “Atlanta" in SMLXL, 1987/94

  • Carl AndreConcrete Block, c. 2010 (via polychroniadis)

    (Source: strictlybizzness)

  • Peter Alexander, Untitled (Green Wedge), 1967 (via ummhello)

  • Taylor Cullity Lethlean Landscape ArchitectureNational Arboretum, Canberra, Australia, c. 2014 (via landezine)

    (Source: desgn-dose, via landscapearchitecture)

  • Jean HélionAbstraction, 1934 (via redlist)

  • Graphic Representation of the Black Sun, c. 1940 (via iris)

  • March StudioNishi Building, Canberra, Australia, 2014 (via colossal)

    (via landscapearchitecture)