n-architecture

1. Cross section of Robert Barker’s two-level panorama at...

Wed, 22 May 2013 22:40:20 +0200

1. Cross section of Robert Barker’s two-level panorama at Leicester Square. Colored aquatint by the architect, Robert Mitchell, c. 1793

2. Cross section of a panorama:

(A) Box office and entrance.

(B) Dark corridor and cylindrical center staircase.

(D) Viewer’s field of vision.

(E) 360-degree circular canvas.

(F) Three-dimensional faux terrain elements.

(G) Trompe l’oeil elements painted directly onto canvas.

Photo

Wed, 22 May 2013 22:28:02 +0200

Photo

Wed, 22 May 2013 22:27:25 +0200

Photo

Wed, 22 May 2013 22:21:29 +0200

Design for a yacht club, Moscow El Lissitzky, 1925 - 1926

Thu, 02 May 2013 18:17:00 +0200

Design for a yacht club, Moscow

El Lissitzky, 1925 - 1926

What is and What Should Be: Soviet Constructivism on Film

Thu, 02 May 2013 18:08:56 +0200

What is and What Should Be: Soviet Constructivism on Film

Draft for the Palace of Labor, 1922-1923 Vesnin brothers

Thu, 02 May 2013 18:05:55 +0200

Draft for the Palace of Labor, 1922-1923

Vesnin brothers

Inhumaine, L’ (1924) Directed by Marcel...

Sat, 20 Apr 2013 00:22:22 +0200

Inhumaine, L’ (1924)

Directed by Marcel L’Herbier, collaborated with Robert Mallet-Stevens and Fernand Léger..

A maple tree in Matibo, near Savigliano, in Piedmont, Sardinian...

Fri, 19 Apr 2013 23:04:00 +0200

A maple tree in Matibo, near Savigliano, in Piedmont, Sardinian Savoy

“Matibo is a delightful estate in the neighbourhood of Savigliano, close to Coni,2 in Piedmont. The beautiful maple tree, shown in our engraving, is one of the most elegant of ornaments. This tree is more than sixty years old. Someone had the idea, twenty-five or thirty years ago, to give it the shape of a little temple, and with ingenuity and patience the metamorphosis is complete.

You see that the elegant little structure has two stories. Each of the rooms is lit by eight windows, and it can easily hold twenty people. The floor, very sturdy, is made of boughs artfully interwoven; the leaves forming a natural carpet; roundabout, the greenery has formed dense high walls, where a great number of birds have come to fix their abode. The owner of Matibo took care not to disturb the joyful little singers: he has encouraged their trust, and all day long you can hear them chirp and hop about, heedless of the visitors, who are leaning on the windows and rustling the leaves.

Landscape architects give to trees pruned in the style of the maple tree of Matibo the general name of arbres belvéders,3 or tree houses.”

- An extract, translated into English by Susan Rhoads and Bill Thayer, from Le Magasin Pittoresque, published under the direction of M. Édouard Charton, Volume IX, Issue 49, Paris: Aux Bureaux d’Abonnement et de Vente, 1841; p. 385.

Bühnenbildmodell zu „Oedipus Rex“, Berlin Ewald Düllberg, 1928

Thu, 21 Mar 2013 20:14:01 +0100

Bühnenbildmodell zu „Oedipus Rex“, Berlin

Ewald Düllberg, 1928

Bühnenbildentwurf zu „Faust. Der Tragödie Erster Teil“...

Thu, 21 Mar 2013 20:10:00 +0100

Bühnenbildentwurf zu „Faust. Der Tragödie Erster Teil“ (Projekt), Dessau
Roman Clemens, 1928

Design for Act II of Gluck’s Orfeo Adolphe Appia, ca....

Thu, 21 Mar 2013 19:56:00 +0100

Design for Act II of Gluck’s Orfeo

Adolphe Appia, ca. 1912-1913

Espaces Rythmiques Adolphe Appia, 1906

Thu, 21 Mar 2013 19:45:00 +0100

Espaces Rythmiques

Adolphe Appia, 1906

Saal des Film Guild Cinema mit Blick auf das »Screen-o-scope«,...

Thu, 21 Mar 2013 19:35:00 +0100

Saal des Film Guild Cinema mit Blick auf das »Screen-o-scope«, New York Frederick J. Kiesler, 1929

Book: Edgar Chambless, Roadtown, 1910 In 1910, Edgar Chambless...

Sat, 09 Mar 2013 16:14:48 +0100

Book: Edgar Chambless, Roadtown, 1910

In 1910, Edgar Chambless released Roadtown, outlining his idea for a linear city built on top of a railway line. “The idea occurred to me to lay the modern skyscraper on its side and run the elevators and the pipes and wires horizontally instead of vertically. Such a house would not be limited by the stresses and strains of steel; it could be built not only a hundred stories, but a thousand stories or a thousand miles….I would take the apartment house and all its conveniences and comforts out among the farms by the aid of wires, pipes and of rapid and noiseless transportation.”

“The Roadtown is a scheme to organize production, transportation and consumption into one systematic plan. In an age of pipes and wires, and high speed railways such a plan necessitates the building in one dimension instead of three - the line distribution of population instead of the pyramid style of construction. The rail-pipe-and-wire civilization and the increase in the speed of transportation is certain to result in the line distribution of population because of the almost unbelievable economy in construction, in operation and in time.” more

Popular Mechanics Magazine 1920s

Sat, 09 Mar 2013 15:54:00 +0100

Popular Mechanics Magazine 1920s

Buckminster Fuller, Triton City, 1967 Triton was a concept for...

Sat, 09 Mar 2013 15:46:46 +0100

Buckminster Fuller, Triton City, 1967

Triton was a concept for an anchored floating city for 100,000 people that would be located just offshore and connected with bridges to the mainland. The complete design report was prepared by R. Buckminster Fuller and his Triton Foundation staff for the U. S. Department of Housing and Urban Development.

REVIEW> PLANNING PALIMPSESTS - The Scenes of the Street and...

Sat, 02 Mar 2013 18:22:00 +0100

REVIEW> PLANNING PALIMPSESTS - The Scenes of the Street and Other Essays by Anthony Vidler

“In the following essays, I have interrogated the struggle for an urban architecture in the modern period, its critiques and aspirations, in the belief that understanding the historical dimensions of the debate will lead to a renewal of interest in an architecture calculated to redeem, if only partially, our “planet of slums” and its deteriorating environment; an interest that will not simply reject “utopia” out of hand or fall back into the complacencies of nostalgia. Written during a period in which the debates themselves were actively engaged by critics and supporters of modernism, they reflect contemporary issues as they search for their prehistory. As historical inquiries, they inevitably also engage the transformations in history writing itself since 1970, intellectual responses to the social and political conditions of postwar modernity.”

photo: ledoux’s vision for a monumental ‘bridge of boats’ to the saltworks of chaux, 1804.

Raúl Rodrigues Lima Cinearte, Lisboa, Portugal

Sat, 02 Mar 2013 17:50:46 +0100

Raúl Rodrigues Lima

Cinearte, Lisboa, Portugal

Louis I. Kahn Palacio de Congresos

Sat, 02 Mar 2013 17:39:23 +0100

Louis I. Kahn
Palacio de Congresos