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five cottages Vermont
live-work row house Montreal
house with library and beams Costa Rica
At first glance, the day-long celebration of architect Michael Graves, FAIA, organized by The Architectural League of New York in November and subtitled “Past As Prologue,” promised to be a re-examination of the postmodern era in architecture. After all, it was Graves’ 1982 Portland Building that is, according to the movement’s foremost evangelist, Charles Jencks, “the first major monument of Post-Modernism, just as the Bauhaus was of Modernism.”
wabi sabi Tea house-Tree house Japan
Meyers Manx - original dune buggy
Villa Johansen upstate NY / 385 sf guest house with Arcadia curtain wall of windows
I wanted to have a cabin on my property for quite some time now but with the economy, The prices of having one built has more than doubled... So i had to build it myself . Six years ago i bought a 12x16 shed from a well known company by where i live. It cost 2,000.00 for them to build it and drop it off. Now that same building would cost 4200,00 dollars. After i was finished with this building with the door and 3 windows the total amount i spent was 2200.00 dollars.
The site is located in a highly populated residential area in eastern Tokyo. The facade of the house for single residents is entirely covered with wooden louvers. In order to ensure a piloti style garage to park a
large-sized car in the long and narrow lot, an RC thin rigid frame was employed.
The front and back spaces are loosely connected by the see-through stairs that are located at the center. The upper floor has a stereoscopic composition via a split level with an open ceiling. Sunlight showers down from the penthouse and fills the enclosed small area, and casts deep shadows in the brutal space.
Skyhole is a minimalist house located in Shiga, Japan, designed by Alphaville. The building is an atelier and residence for a couple of painter and a designer. It is a space to spend their whole day with their only son and will be used to regularly exhibit works as a gallery. Therefore, the atelier and
the residence will be used multi-dimensionally by shifting boundaries depending on usages. In order to house various activities, extra air volume and
spatial intonations were sought. By distorting the inside of one big volume, the architects searched for
a vibrating space that responds to the weight of activities.
The series that dominates the exhibition, the Seagram murals, arose from a commission for paintings to line the walls of a private dining-room in the Four Seasons restaurant in Mies van der Rohe’s Seagram Building on Park Avenue. In the fifth and seventh sections – both long letterbox shapes, both red on maroon – the fuzzy rectangles that are the central motif in all the canvases have risen towards the top, like bubbles in a thick liquid. The fuzziness, the darkness, the redness, the unevenness of the margins, make the pictures active and unresolved. The effect is romantic, quite unlike the reposeful geometry of abstract pictures in which something like the solution of an equation takes place. But there are limits to what even active, unresolved abstraction can communicate. From Rothko’s point of view it is a defeat if his pictures have come to be merely beautiful – not tragic, not poignant, just blissfully absorbing. On the first page of the catalogue a remark of his is set in large type: ‘If people want sacred experiences they will find them here. If they want profane experiences they’ll find them too. I take no sides.’ But he does, because to say that there are sacred and profane readings implies that his art will do more than finally float down to a level that may be solemn, but is essentially, and merely, aesthetic.
tag Rothko/Seagrams series
"Wooden beams and trusses have been left exposed on the underside of the roof. They
connect with a system of new floor beams and columns that subdivide the interior, create three mezzanine levels and frame a staircase with a cupboard beneath its treads."
"But the story of Krisel as inventor of the butterfly roof is actually "not true," as Krisel himself notes. While he did make the feature a Southern California mid-century trademark, it was another architect who first developed the butterfly roof. Twenty-eight years before Krisel designed tract homes for the Alexander Construction Company in Palm Springs, Swiss-French architect and Modernist pioneer Le Corbusier first came up with the
soaring architectural feature."
"The Typographische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of ‘Swiss typography’ to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design. Its contributors include some of the most influential designers. Although the issues before 1960 are extremely rich in revealing the development of modernist typography, the years 1960–90 correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies, profoundly affected and transformed the fields of typography and graphic design. From this general turbulence, new forms emerged and new models were explicitly manifested. The examination of the Typographische Monatsblätter during these specific years enables a greater understanding of the development of late 20th century typography and graphic design."
"Derived from an old Italian word, gabbione, meaning "big cage," gabions are enclosures that can be filled with any sort of inorganic material: rock, brick, or concrete debris. The cages were originally wicker, but now are usually a welded mesh made of sturdy galvanized, coated, or stainless steel wire that won't bend when filled with rocks. In landscaping, gabion walls can support an earth wall, stabilize the soil, prevent erosion, and more."