• James Stirling, Sketch Plan for the Neue Staatsgalerie, Stuttgart, Germany, 1977 (via cca)

  • Esaias van Hulsen, Repraesentatio der Furstlichen Aufzug und Ritterspil, Stuttgart, Germany, 1616 (via uncertaintimes)

    'describe the festivities held in Stuttgart on 10th-18th March 1616 to honour the christening of Prince Friedrich of Württemberg, second son of Johann Friedrich, Duke of Württemberg and Barbara Sophia Margravine of Brandenburg. The tournaments, processions and ballets are superbly illustrated including the masque of the 12 nations. “It featured four huge papier-mâché heads, representing North, South, East and West, from whose mouths emerged dancers symbolizing the various nations.” Duke Johann Friedrich appeared in the procession as King Priam of Troy and is accompanied by Pallas, Juno, Venus and Mercury.'

    (via mythologyofblue)

  • Ben vn Berkel + Caroline Bos / UN Studio, “Narrative for Mercedes-Benz Museum" in Unfold, Stuttgart, Germany, 2002-6

    Finally found this narrative after looking for two+ years, and it was on the LAS shelf!

  • Yi Architects, “Heart” of the New Stuttgart Library, Stuttgart, Germany, 2011

    (Source: ummhello)

  • James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1977-83 (via archiveofaffinities)

    ‘Ruins in the Garden’, classical blocks which have fallen about in an eighteenth-century manner, reveal the reality of Post-Modern construction: a steel frame holds up the slabs of masonry, and there is no cement between the blocks, but rather air. These holes in the walls, which are ironic vents to the parking garage, dramatize the difference between truth and illusion, and allow Stirling to assert continuity with the existing classical fabric while also showing the differences. Paradox and double coding exist throughout this scheme, which is more an articulation of urban tissue than a conventional building. - Charles Jencks 

  • Ludwig Mies van der RoheWeissenhof Siedlung, Stuttgart, Germany, 1927

    "The Weissenhof Estate is a housing estate built for exhibition in Stuttgart in 1927. It was an international showcase of what later became known as the International style of modern architecture. The estate was built for the Deutscher Werkbund exhibition of 1927, and included twenty-one buildings comprising sixty dwellings, designed by sixteen European architects, most of them German-speaking. The German architect Mies van der Rohe was in charge of the project on behalf of the city, and it was he who selected the architects, budgeted and coordinated their entries, prepared the site, and oversaw construction. Le Corbusier was awarded the two prime sites, facing the city, and by far the largest budget. The twenty-one buildings vary slightly in form, consisting of terraced and detached houses and apartment buildings, and display a strong consistency of design. What they have in common are their simplified facades, flat roofs used as terraces, window bands, open plan interiors, and the high level of prefabrication which permitted their erection in just five months. All but two of the entries were white. Bruno Taut had his entry, the smallest, painted a bright red. Advertised as a prototype of future workers’ housing, in fact each of these houses was customized and furnished on a budget far out of a normal workers reach, and with little direct relevance to the technical challenges of standardized mass construction. The exhibition opened to the public on July 23, 1927, a year late, and drew large crowds. Of the original twenty-one buildings, only eleven survive as of 2006.”

  • J.J.P. OudGallery house at Weissenhof Estate, Stuttgart, Germany, 1927

  • Diagramming II: The Mercedes-Benz Museum in Stuttgart, Germany (2001-5) by UN Studio