• John Hejduk, Towers at the City of Culture, Santiago de Compostela, Spain, c. 1992 (via coffee)

    If El Lissitzky's proun is “the waystation between painting and architecture,” architects like John Hejduk and artists like Dan Graham, Jaume Plensa, Olafur Eliasson, James TurrellDonald Judd, and numerous others engaged the waystation between sculpture and architecture first identified by Rosalind Krauss in her seminal “Sculpture in the Expanded Field.”

  • Michael Graves, Republic Bank and Texas Theater, San Antonio,TX, 1982 (via archiveofaffinities)

  • Henri SauvageImmeuble Metropolis, Paris, France, 1928 (via studyblue)

    (Source: icaronycteris, via victortsu)

  • John Portman, Model of the Marriott Marquis Hotel in Times Square, New York City, NY, 1982-5 (via archiveofaffinities)

    Context model?

  • Vladimir Shukhov, The Hyperboloid Tower Project, Moscow, Russia, 1919

  • Édouard Manet, A View of the Exposition Universelle, Paris, France,1867 (via grupaok)

  • Jean-Léon Gérôme, The Tulip Folly, 1882

    The Eye of Sauron watches over the Netherlands.

  • Roger Ferri, Spiral Tower Skyscraper Prototype, 1984 (via archiveofaffinities)

  • Aldo Rossi and Donatella Mazzoleni, Materiel Habitable, 1970 (via archiveofaffinities)

  • Auguste Perret, Ville-Tours, 1922 (via archiveofaffinities)

  • Hermann Obrist, Design for a Memorial, 1895 (via grupaok)

    "An energetically shabby Jugendstil premonition of Tatlin’s model monument.”

    (via rosswolfe)

  • Erick van Egeraat + Tim Van de VeldeIncineration Line, Roskilde, Denmark, c. 2014 (via ryanpanos)

    "The plant will incinerate waste, from nine surrounding municipalities and from many places abroad to produce electricity and heat power for the whole region of Roskilde. To provide the huge new incinerator line, planned in a relatively flat landscape and next to the relatively small city of Roskilde with a suitable appearance, an international design competition was organized. In 2008 the jury unanimously selected the design proposed by Erick van Egeraat. The design presents an iconic expression for the otherwise functional architecture of the local waste management company Kara/Noveren’s next generation incineration line. The façade consists of two layers: the inner layer is the skin which provides the actual climatic barrier, allowing the second skin to be treated more freely – raw umber-coloured aluminium plates with an irregular pattern of laser cut circular holes. The aluminium plates are treated to give them the desired colour and patina at day time. At night, the programmable lighting, installed between the two facades, gives the building an additional metaphor."

    (via architectureuberalles)

  • Coll-Barreu Arquitectos, Textured Tower, Bilbao, Spain, 2012

  • Monument to the Ships Scuttled during the Siege of Sevastopol during the Crimean War, Sevastopol, Crimea, 1854-5

  • John Edelmann, Decker Building, New York City, NY, 1892-3 (via archiveofaffinities)