archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"
archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.
"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"

archatlas:

Wine Terrace and Spa Gereben Marián Architects Ltd.

"Situated close to Eger, at the foot of Nagy Eged Hill, a wine terrace is to be built on the vineyard grounds belonging to the Csutorás Winery. Serving as an ideal location for wine tastings, the wine terrace is complemented by 4 small huts and a lookout, located at the edge of the site. The huts resemble the archaic buildings of the wine region with their characteristic proportions and use of materials. The folded roof structure of the terrace provides a perfect place to relax and enjoy the scenic view with a glass of wine"

superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.

superarchitects:

NON_SEQUITUR: A Neighbourhood

Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014

The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.

Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.

(via archisketchbook)

I grew up watching Good Will Hunting four times a year on vhs. To this day it is still my favorite film.

Robin Williams will always be someone I aspire to be like. Maybe I can’t separate the man from his role in the movies; but whatever the case; the sheer genuineness of his presence and tenderness towards the human condition left an impression on me that I will never forget. For Robin, so many roles revolved around the crazy things we do for love- and not in a cheesy throw rocks at the window type of way. 

It was sacrificing a part of ego, pride, praise, fame, dignity etc to be with the people you love most. In the end I think thats what made him a great actor and comedian; and why even those of us who never knew the man feel so heart broken by his lost. 

He was open about his struggles with depression and addiction and for that; I think he retained his humanity in the midst of stardom. In his death we know not a man of weakness or defeat, but a man, a human, much like us all struggling with sorrow and loneliness. 

archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims archatlas:

I Traveled to Paris and Returned with Twenty-One Maps Emma Sims

citizinvestor:

In 2012, our team set out to solve a very real problem: Government never has enough resources to provide every project and service citizens want. To date, our solution to this problem has been citizinvestor.com; and thanks to you, Citizinvestor has grown to become the largest crowdfunding…

interested to hear more about this

archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen
archatlas:

 Bas Princen

Al Jazeera’s ‘Rebel Architecture’ to preview at the World Urban Forum

aljazeerapr:

Al Jazeera’s forthcoming series ‘Rebel Architecture’ has been invited to preview two films tomorrow at the World Urban Forum in Medellin, Colombia.

‘Rebel Architecture’ follows architects who have chosen to shun a ‘star-chitecture’ career, and are using their skills to design for the majority and as a form of activism and resistance.

image

Read More

(via urbanresolve)

thisbigcity:

Google “cities as an organism” and you’ll find everything from TED talks to blog posts to academic papers on the topic. There’s no shortage of suggestions that collective actions in cities are like an urban metabolism.
The immense amount of data generated in cities can offer us an improved understanding of how everything from water to waste to people to cargo moves around.
Which is exactly what .FABRIC and James Corner Field Operations have done as part of their new show at the International Architecture Biennale Rotterdam, which runs until August 23rd.
Find out more about their digital mapping of Rotterdam in our latest post
thisbigcity:

Google “cities as an organism” and you’ll find everything from TED talks to blog posts to academic papers on the topic. There’s no shortage of suggestions that collective actions in cities are like an urban metabolism.
The immense amount of data generated in cities can offer us an improved understanding of how everything from water to waste to people to cargo moves around.
Which is exactly what .FABRIC and James Corner Field Operations have done as part of their new show at the International Architecture Biennale Rotterdam, which runs until August 23rd.
Find out more about their digital mapping of Rotterdam in our latest post
thisbigcity:

Google “cities as an organism” and you’ll find everything from TED talks to blog posts to academic papers on the topic. There’s no shortage of suggestions that collective actions in cities are like an urban metabolism.
The immense amount of data generated in cities can offer us an improved understanding of how everything from water to waste to people to cargo moves around.
Which is exactly what .FABRIC and James Corner Field Operations have done as part of their new show at the International Architecture Biennale Rotterdam, which runs until August 23rd.
Find out more about their digital mapping of Rotterdam in our latest post

thisbigcity:

Google “cities as an organism” and you’ll find everything from TED talks to blog posts to academic papers on the topic. There’s no shortage of suggestions that collective actions in cities are like an urban metabolism.

The immense amount of data generated in cities can offer us an improved understanding of how everything from water to waste to people to cargo moves around.

Which is exactly what .FABRIC and James Corner Field Operations have done as part of their new show at the International Architecture Biennale Rotterdam, which runs until August 23rd.

Find out more about their digital mapping of Rotterdam in our latest post

architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.
architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.

architectureland:

BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner.  Projects in Krumbach, Austria.

(via urbnist)

archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”
archatlas:

Passerelle Geninasca Delefortrie Architectes
"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”

archatlas:

Passerelle Geninasca Delefortrie Architectes

"When a place speaks, the most constructive reaction is to listen to it rather than to converse with it. The crossing of the Areuse at a precise point of the gauge was the demand. The answer is this footbridge, an organic structure, ensuring a better echo with the site and the river. The objective power of this artefact holds in its ability the power to blend in perfectly with the site and get clearly noticed. There is no submission to the place but just respect.”

dezeen:

Black rubber-clad beach house with a timber interior on Dungeness beach in Kent, England »
dezeen:

Black rubber-clad beach house with a timber interior on Dungeness beach in Kent, England »
dezeen:

Black rubber-clad beach house with a timber interior on Dungeness beach in Kent, England »

This song and video right now

Open by Rhye

prostheticknowledge:

SurS
A five meter interactive touchscreen table for collaborative information presentation put together by Mathrioshka and dotdotdot - video embedded below:





Five-meter-long multi-touch table presenting projects of Italian IT company Engineering.
Table and showroom designed by Milan-based studio dotdotdot.







More Here



prostheticknowledge:

SurS
A five meter interactive touchscreen table for collaborative information presentation put together by Mathrioshka and dotdotdot - video embedded below:





Five-meter-long multi-touch table presenting projects of Italian IT company Engineering.
Table and showroom designed by Milan-based studio dotdotdot.







More Here



prostheticknowledge:

SurS
A five meter interactive touchscreen table for collaborative information presentation put together by Mathrioshka and dotdotdot - video embedded below:





Five-meter-long multi-touch table presenting projects of Italian IT company Engineering.
Table and showroom designed by Milan-based studio dotdotdot.







More Here



prostheticknowledge:

SurS
A five meter interactive touchscreen table for collaborative information presentation put together by Mathrioshka and dotdotdot - video embedded below:





Five-meter-long multi-touch table presenting projects of Italian IT company Engineering.
Table and showroom designed by Milan-based studio dotdotdot.







More Here

prostheticknowledge:

SurS

A five meter interactive touchscreen table for collaborative information presentation put together by Mathrioshka and dotdotdot - video embedded below:

Five-meter-long multi-touch table presenting projects of Italian IT company Engineering.

Table and showroom designed by Milan-based studio dotdotdot.

greyhaven:

Crushing Strength

Documentation of mid century concrete structure, pattern and tiled mosaic work
Crushing Strength touches upon the late 1950’s ambitious architectural vision for the Northeast, obsession with space travel and finding escapism through our architectural surroundings

(via architectureofdoom)