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Papillons

Sélection de liens papillons qui nous semblent mériter quelque collection sur notre Tumblr.

tobebuild:Palazzetto dello Sport, RomePier Luigi Nervi, Annibale Vitellozzi1952

Représentation de la cellule dans la micrographie de Robert Hooke (1665) | Représentation d’une cellule humaine aujourd’hui, via résonance magnétique nucléaire et microscopie cryoélectronique.

Représentation de la cellule dans la micrographie de Robert Hooke (1665) | Représentation d’une cellule humaine aujourd’hui, via résonance magnétique nucléaire et microscopie cryoélectronique.

Highrise of Homes, James Wines, 2020 (source)

Highrise of Homes, James Wines, 2020 (source)

Highrise of Homes, James Wines, 2020 (source)

Highrise of Homes, James Wines, 2020 (source)

Highrise of Homes, James Wines, 2020 (source)

James Wines, Highrise of Homes, project (Exterior perspective), 1981. Ink and charcoal on paper. 22 x 24 inches.

polychroniadis:Günter Günschel, Stadthalle in Weissenfels, 1957.

“Together Alone”, Yee Bless, 2020(source)

Michael Sorkin, Brooklyn Waterfront,1993A design for a spectacular site on the Brooklyn waterfront situated opposite Lower Manhattan and below the Brooklyn Heights Promenade. Given the likelihood that this will be an intensely trafficked place, the proposal was to ratchet up the mix. A conference center is maintained to the north, augmented with a hotel on a deconsecrated cruise ship or aircraft carrier. A series of brick loft buildings fills out the northern end of the site and lines its eastern flank. Further down, a large amphitheater faces the fabulous view of Manhattan. At the south end of the site we have proposed an industrial use: a barge-building yard. The barges would be fitted out as gardens, sports grounds, restaurants, and community facilities for use as constituents in the rest of the project and might be floated to other parts of the city to seed development of other stretches of waterfront.(Source)

Michael Sorkin, Brooklyn Waterfront,1993A design for a spectacular site on the Brooklyn waterfront situated opposite Lower Manhattan and below the Brooklyn Heights Promenade. Given the likelihood that this will be an intensely trafficked place, the proposal was to ratchet up the mix. A conference center is maintained to the north, augmented with a hotel on a deconsecrated cruise ship or aircraft carrier. A series of brick loft buildings fills out the northern end of the site and lines its eastern flank. Further down, a large amphitheater faces the fabulous view of Manhattan. At the south end of the site we have proposed an industrial use: a barge-building yard. The barges would be fitted out as gardens, sports grounds, restaurants, and community facilities for use as constituents in the rest of the project and might be floated to other parts of the city to seed development of other stretches of waterfront.(Source)

Michael Sorkin, Brooklyn Waterfront,1993A design for a spectacular site on the Brooklyn waterfront situated opposite Lower Manhattan and below the Brooklyn Heights Promenade. Given the likelihood that this will be an intensely trafficked place, the proposal was to ratchet up the mix. A conference center is maintained to the north, augmented with a hotel on a deconsecrated cruise ship or aircraft carrier. A series of brick loft buildings fills out the northern end of the site and lines its eastern flank. Further down, a large amphitheater faces the fabulous view of Manhattan. At the south end of the site we have proposed an industrial use: a barge-building yard. The barges would be fitted out as gardens, sports grounds, restaurants, and community facilities for use as constituents in the rest of the project and might be floated to other parts of the city to seed development of other stretches of waterfront.(Source)

Michael Sorkin, Brooklyn Waterfront,1993A design for a spectacular site on the Brooklyn waterfront situated opposite Lower Manhattan and below the Brooklyn Heights Promenade. Given the likelihood that this will be an intensely trafficked place, the proposal was to ratchet up the mix. A conference center is maintained to the north, augmented with a hotel on a deconsecrated cruise ship or aircraft carrier. A series of brick loft buildings fills out the northern end of the site and lines its eastern flank. Further down, a large amphitheater faces the fabulous view of Manhattan. At the south end of the site we have proposed an industrial use: a barge-building yard. The barges would be fitted out as gardens, sports grounds, restaurants, and community facilities for use as constituents in the rest of the project and might be floated to other parts of the city to seed development of other stretches of waterfront.(Source)

Michael Sorkin, Brooklyn Waterfront,1993A design for a spectacular site on the Brooklyn waterfront situated opposite Lower Manhattan and below the Brooklyn Heights Promenade. Given the likelihood that this will be an intensely trafficked place, the proposal was to ratchet up the mix. A conference center is maintained to the north, augmented with a hotel on a deconsecrated cruise ship or aircraft carrier. A series of brick loft buildings fills out the northern end of the site and lines its eastern flank. Further down, a large amphitheater faces the fabulous view of Manhattan. At the south end of the site we have proposed an industrial use: a barge-building yard. The barges would be fitted out as gardens, sports grounds, restaurants, and community facilities for use as constituents in the rest of the project and might be floated to other parts of the city to seed development of other stretches of waterfront.(Source)

Michael Sorkin, Godzilla, 1992The project’s affinities with Godzilla are not merely morphological but conceptual. Just as that monster stands for a certain intensification of Japanese post-nuclear anxieties, so this building represents, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of the fundamental (dis)order in the city. As with traditional skyscrapers, Godzilla is divided into three parts. The lowest includes large-scale, publicly-oriented spaces, including theaters, department stores, and other commercial uses. The middle portion holds office space and the sh-like crown, apartments.Godzilla is also designed as a strategic urban blockage, thwarting and then reorganizing traffic. It is a center of dissemination of green, blue, and car-free vectors, for the expansion of a zone of pedestrianism, and for the insinuation of fresh tendrils of form and materiality.(Source)

Michael Sorkin, Godzilla, 1992The project’s affinities with Godzilla are not merely morphological but conceptual. Just as that monster stands for a certain intensification of Japanese post-nuclear anxieties, so this building represents, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of the fundamental (dis)order in the city. As with traditional skyscrapers, Godzilla is divided into three parts. The lowest includes large-scale, publicly-oriented spaces, including theaters, department stores, and other commercial uses. The middle portion holds office space and the sh-like crown, apartments.Godzilla is also designed as a strategic urban blockage, thwarting and then reorganizing traffic. It is a center of dissemination of green, blue, and car-free vectors, for the expansion of a zone of pedestrianism, and for the insinuation of fresh tendrils of form and materiality.(Source)

Michael Sorkin, Godzilla, 1992The project’s affinities with Godzilla are not merely morphological but conceptual. Just as that monster stands for a certain intensification of Japanese post-nuclear anxieties, so this building represents, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of the fundamental (dis)order in the city. As with traditional skyscrapers, Godzilla is divided into three parts. The lowest includes large-scale, publicly-oriented spaces, including theaters, department stores, and other commercial uses. The middle portion holds office space and the sh-like crown, apartments.Godzilla is also designed as a strategic urban blockage, thwarting and then reorganizing traffic. It is a center of dissemination of green, blue, and car-free vectors, for the expansion of a zone of pedestrianism, and for the insinuation of fresh tendrils of form and materiality.(Source)

Michael Sorkin, Godzilla, 1992The project’s affinities with Godzilla are not merely morphological but conceptual. Just as that monster stands for a certain intensification of Japanese post-nuclear anxieties, so this building represents, an intensification of Tokyo-ness. In it, the tangled skein of the city finds a critical mass and erupts into form, a verticalization of the fundamental (dis)order in the city. As with traditional skyscrapers, Godzilla is divided into three parts. The lowest includes large-scale, publicly-oriented spaces, including theaters, department stores, and other commercial uses. The middle portion holds office space and the sh-like crown, apartments.Godzilla is also designed as a strategic urban blockage, thwarting and then reorganizing traffic. It is a center of dissemination of green, blue, and car-free vectors, for the expansion of a zone of pedestrianism, and for the insinuation of fresh tendrils of form and materiality.(Source)

joeinct:Seagram Building, Mies van der Rohe with Philip Johnson, NYC, Photo by Ezra Stoller, 1958

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

Michael Sorkin, Animal Houses, 1989These three creatures – dog, frog, and aardvark - from 1989 are part of a bestiary of projects through which I worked out a fairly literal interest in biomorphism. I can’t account for this interest nor – given that these projects were self-generated - do I think it particularly interesting to speculate on its origins. There is obviously a point beyond which questions of taste remain personal.The three houses do engage certain architectural specifics: symmetry, directionality, and elevation. Vertebrates are invariably bilateral and so are these buildings, each a small essay on a small range of variation within a fixed and essentially symmetrical envelope. I’ve always been interested in the way in which fixed forms accrete eccentricities, the way faces are never quite symmetrical, the meaning of the coming and going of pimples the swollen cheeks of tooth-aches. Modernist that I am, I’ve also always had a tooth for aircraft and ships. This aircraft carrier anchored in Manhattan has long been fascinating for the way in which its basic and rigorously symmetrical hydrodynamic shape has acquired a bristling entourage of turrets, antennae, cranes, and other apparatus that tilt any reading towards irregularity.Higher vertebrates, being mobile, acquire their directional characteristic from the most efficient production of forward motion. Sense organs are generally deployed to facilitate this mobility. These houses, however, are only symbolically directional: the ocular advantage is not necessarily pegged to what seems to be the axis of motion, rather to the long sides of the object, which simply provide greater area for fenestration and view.(Source)

nobrashfestivity:Giant model of the Moon, 1894, at The Field Columbian Museum was created to house the artifacts from the anthropology, botany, geology and zoology collections at the 1893 World’s Columbian Exposition. Originally named the Columbian Museum of Chicago.

Screenshot of a person getting arrested being identified as a “suitcase” and a policeman being identified as a “dog” in a video demonstrating “You only look once” (YOLOv3), a real-time object detection system by Joseph Redmon and Ali Farhadi. Source: Joseph Redmon/Youtube, 2018.

Territorial Agency: Oceans in Transformation. Commissioned by TBA21 Academy.The rapid depletion of the coastal ecosystems of the Mississippi Delta, combined with sea level rise scenarios.

genericarchitecture:Sanssouci Peter Joseph Lenné[Potsdam, 1836]Parc de Sans-Souci, par Peter Joseph Lenné (1789 - 1866), Postdam, 1836

Roller coaster and pier at West End, Lake Pontchartrain. New Orleans, 1901

Statue of Liberty towering over Paris just before it was disassembled and shipped to New York (1884)

Statue of Liberty towering over Paris just before it was disassembled and shipped to New York (1884)

Christo and Jeanne-Claude, Wrapped Kunsthalle, Bern, Switzerland, 1967–68

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Magdalena Jetelovà, « Iceland Project » (1992)

Candida Höfer, Zoologischer Garten Paris II, 1997

Mark Dion, Wolf - Mobile Wilderness Unit, 2006

Mark Dion, Wolf - Mobile Wilderness Unit, 2006

Mark Dion, The Tar Museum, 2006

Mark Dion, The Tar Museum, 2006

Mark Dion, The Tar Museum, 2006

Joseph Beuys, I like America and America likes Me, 1974

Monument à Laika et autres martyrs de la science, cimetière de Villepinte, 4 avril 1958

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Georges Candilis & Anja Blomstedt, Hexacube, Les Carrats, Port Leucate, 1968-75

Claus Bonderup, Maison de vacance, Jutland, Danemark

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Guy Rottier, la Vila Arman, Vence, France, 1968

Projet pour Les Halles, Jean Pattou, 1979

La Terre vue du ciel, Élisée Reclus (1876), Nouvelle Géographie universelle ; la terre et les hommes

Nobody lives here : places of the United States where there is no human population

Standard Oil, Cleveland, Ohio, 1889

Laurent Millet, Je croyais voir un piège, 2012

Ansel Adams, the wilderness

Ansel Adams, the wilderness

Ansel Adams, the wilderness

Ansel Adams, the wilderness

William Kentridge, Colonial Landscapes, 1995-96

William Kentridge, Colonial Landscapes, 1995-96

Doomed Earth Catalog. Illustration- Justin Metz for the New York Magazine, July 10-23, 2017

Publicité pour l’architecture…

Spindletop, Texas, 1901-1903

Spindletop, Texas, 1901-1903

Spindletop, Texas, 1901-1903

John Gerrard, Western Flag, Spindletop, Texas, 2017

John Gerrard, Western Flag, Spindletop, Texas, 2017

John Gerrard, Western Flag, Spindletop, Texas, 2017

John Gerrard, Western Flag, Spindletop, Texas, 2017

websitephilau: Le Philotope MaT[i]erre[s] Lire en ligne - Le téléchargerCe Philotope « MaT(i)erre(s) » veut expliciter le lien établipar l’architecture entre l’esprit et la matière et celle du rapport entrenature et technique, renvoyant à l’idée insistante de l’interrogationnietzschéenne de savoir quel monde on veut habiter. L’art d’articuler les forcesvives naturelles et culturelles se révèle être un des enjeux cruciaux du XXIesiècle ; où méconnaître les lois naturelles, les transgresser parignorance, inconscience ou arrogance prométhéenne, représente une forte menacepour les établissements humains.Afficher davantageRevue Le Philotope, MaT[i]erre[s]

Olivetti Showroom, Venise (Carlo Scarpa, 1958)

Otis did it: la skyline de New York au prisme des progrès de l’ascenseur

Publicité Olivetti

Rémy Markowitsch, Psychomotor, 2016

Rémy Markowitsch, Psychomotor, 2016

Urbain, trop urbain

Le collectif Urbain, trop urbain a pour objet la réalisation, la promotion et la diffusion des écritures de la ville, interrogée ici à partir des pratiques que l’espace urbain suscite.

ÉCRITURES

FLYER URBAIN (87)
LANGUE URBAINE (93)
LECTURE URBAINE (57)
SIGNAL URBAIN (34)

ET AUSSI…

8_11_2-Armelle Caron_Paris rangé © Armelle Caron

La ville rangée est sans langage

1204 v3

L’anarchitecture, une lecture urbaine par déconstruction

East-maisons

Un Wire Tour à Baltimore

hong-kong-signs_03 — ©Ikano Grafik

L’écologie graphique de la ville et sa disparition

Porto Lapa

Lisbonne saudade

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