Martha Schwartz, Rio Shopping Center, Atlanta, GA, 1989
“A squadron of gilded frogs worships a geodesic globe in the courtyard of a specialty shopping center in midtown Atlanta. With architecture designed by Miami–based Arquitectonica International, Inc., Rio Shopping Center boldly asserts itself among the chaos of a cluttered intersection in an area ripe for revitalization. The globe serves as a beacon for the retail center whose first level of shops opens onto a courtyard ten feet below the street. Overlapping squares of lawn, paving, stones, and architecture form the basis of the design. The squares are layered with other geometric pieces — lines, circles, spheres, cubes. These elements meet in a mysterious black pool which is striated by lines of fiber optics that glow at night. A floating path, reflected above by an architectural bridge, connects one side of the shopping area to the other. The frogs are set in a grid at the base of the 40 foot high globe which is located on a slope connecting the road to the courtyard. Alternating stripes of riprap and grass cover the slope. The grid of frogs continues down the slope and through the pool, all facing the giant sphere as if paying homage. The globe, which also provides support for vines, houses a mist fountain. A square plaza beyond this focal point forms a meeting place which includes a circular bar, a bamboo grove that punctures the roof, and a video installation by artist Darra Birnbaum.”
Vilanova Artigas, Vila Alpina Kindergarten, Santo André, Brazil, 1970 (via polychroniadis)
(Source: fuckyeahbrutalism)
Greg White, Endless Interior, c. 2012 (via beconinriot)
Walter Jonas, Intrapolis, 1958 (via dprbarcelona)
“Walter Jonas was born on 1910 in Oberursel, Germany. He was a graphic artist and art critic, but his researches and interest led him to design a city called Intrapolis. Based on his finding that traditional or modern homes were all oriented towards the outside, but instead of great landscapes and views, they had noise, dust and noxious gases, Jonas has worked in rethinking the meaning of “home”. Inspired by a trip to Brazil in 1958, Jonas has developed a vision of a new humane urban form: the Intrapolis. This is directed against the traditional way of urban development.
His funnel city is a kind of artificial valley with homes opening to the interior of the funnel. The design of the terraced, inward-arranged housing is compact and allows good light and visibility. Through the funnel-shaped building structure more undeveloped green space for the public is available.
Each funnel is formed, until the first third of its height, with the facilities for which artificial light is sufficient. Administration, department stores, cinemas and other public facilities are housed in the funnel base. Each funnel has a superstructure that supports the central patio or planted with trees. Schools are often grouped around the patio, on the circle below, then on the following circles which follow-shaped arena, lay the apartments and gardens. The individual units may be increased or decreased as needed. Jonas believes that such a funnel structure to promote the solidarity of the residents themselves and also just the older generation would integrate better into the community.”
Walter Jonas, ‘Intrapolis’, 1958 (via polychroniadis)
What happens when you combine Le Corbusier’s Cartesian Skyscraper with John Portman’s Atrium.
Matthew Borrett, Hypnagogic City, 2002 (via nevver)
EQUIP Xavier Claramunt, Sphere Building, 2009 (via polychroniadis)
“Two spheres, one inside the other, standing 100 stories high and with an area of 1,660,900 m2.”
O.E .Bieber, Project for a Skyscraper Competition, Cologne, Germany, 1925 (via archiveofaffinities)
Stuart Frank, ‘City in a Building,’ c. 2012 (via polychroniadis)
See previously.
Georges Heintz + Rem Koolhaas, First Formal Drawing for Très Grande Bibliothèque, Paris, France, 1989
“Astonishingly absurd, astonishingly beautiful. Beyond all exploitation, there is also altruism at work: OMA - a machine to fabricate fantasy - is structured for others to have the eurekas.”
Rem Koolhaas, Sketch for ZKM / Très Grande Bibliothèque, Paris, France, 1989
“An old sketch for ZKM, suddenly pregnant.”
Berlin Philharmonic Orchestra, “The Insides of an Instrument,” 2012 (via behance)
Maxis, Screenshot from Sim City 2000, 1993 (via mobygames)
My first interaction with Urban Design. What does this plug-in, pixelated, zoning-dependent, grid-defined property lined, standardized, and proliferated genericity method of “design” mean for someone thinking of how to design a city? Take particular note of the time at the top: October 3575. Will human society even still exist?