Katbery

archatlas

Denis Andernach

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archatlas

Rob Krier

The author of the Urban Space, Robert Krier was born in 1938 in Luxemburg. He ranks as one of the most influential urban planners and architects of post modernism. As it is also clear in his book ‘Urban Space’, he has always taken the historic repertoire seriously. For him, continuity and aestheticism are ways of reviving what he regards as the art of architecture that lost its way in modernism. The aim of the book ‘Urban Space’ is to search how the traditional understanding of urban space has been lost within the modern cities. By explaining the terms of urban space and its structure, he has examined whether the concept of urban space retains some validity in contemporary town planning and on what grounds.

Selected books by Rob Krier are full readable online on his website:

Images and book information via Rob Krier additional text via

archatlas

‘Chapelle Notre Dame du Haut: Le Corbusier by Himself’ Xavier Delory

From the artist:

The chapel Notre-Dame-du-Haut, built by Le Corbusier between 1951 and 1955 on the hill Bourlémont, Ronchamp (France), was commissioned by the Dominican friars. Among them, was the father, Marie-Alain Couturier, who campaigned for the introduction of architecture and modern art in religious constructions.

Le Corbusier was not only an architect, he was also a painter and sculptor. He is the author of the phrase “synthesis of the arts” meaning an alliance between painting, sculpture and architecture. At first he thought about what painting and sculpture could bring to architecture, not playing a decorative role but rather “as a house guest” In a second phase, he moved this level of synthesis to a fusion of modern architectural styles at Ronchamp.

For Le Corbusier, Ronchamp is 'A syn-thesis of the arts’, or perhaps 'novelty architecture’ for the architect and theorist Robert Ventury.

In his book “Learning from Las Vegas “ (1972), the latter perceives the concept of “novelty architecture” as: architecture in which buildings and structure have an original, peculiar form, often with the aim of self-publicity, to stand out as a visually attractive object in the landscape, and sometimes just as a simple expression of the owner or architect’s eccentricity. Today, some architectural experts state that the architecture of certain 'star’ architects (such as Frank Gehry, Daniel Libeskind…) is “novelty architecture’.

Images and text via Xavier Delory

vastderp

enoch-art

I’m opening another round of commissions! Now with a “full illustration” option.

I will draw:

animals/mythological creatures
anthros/furries
fanart
gore
nudity
original characters
most anything as long as it isn’t derogatory/hateful

To contact me, use the email above. If you’re uncertain about the subject matter or have any questions in general, feel free to ask or email me.

Reblogs are much appreciated!

vastderp

Note to self: hire this amazing artist on payday!

Source: enoch-art

nomorerender

archatlas

unrulytermination asked:

is your representation of boxy, square architecture a matter of predilection, or this is how architecture is at this time?

archatlas answered:

Good question, yes I guess I tend to favor what you might call “boxy” architecture because of predilection. Most of the architecture is this way because of the way we build and live, Zaha notwithstanding. There is something magical and rational about a beautiful building with clean lines.

archatlas

Archiposters Francesco Ravasio

Check out this Kickstarter!

I wanted to represent the buildings in their most dynamic form! Taking into account both the first buildings of modern architecture, such as Le Corbusier, up to the parametric architecture of Zaha Hadid.

Architecture is timeless and always has something to teach.

During my travels I have seen fantastic architecture and I wanted to take home a piece, a memory!

1972, Nakagin Capsule Tower, Kisho Kurokawa
1931, Ville Savoye, Le Corbusier
1968, Neue Nationalgalerie, Ludwig Mies Van Dei Rohe
2013, Library of Birmingham, Mecanoo
1989, Pyramide du Lowre, Ieoh Ming Pei
2010, VitraHaus, Herzog & De Meuron
2011, Riverside Museum, Zaha Hadid
2006, Hearst Tower, Foster & Partners
2009, O-14, Reiser + Umemoto
2006, Zollverein School of Management and Design, SANAA

Images and text via Kickstarter!

archatlas

commonedge.org

Game-Changing Eye-Tracking Studies Reveal How We Actually See Architecture

Once you learn how we see buildings, you’ll never look at architecture the same way again

Ann Sussman, Janice M. Ward

archatlas

If there’s one all-encompassing conclusion, it’s this: we can only hope to save ourselves if we know what we are. Evolution is real and we’re artifacts of the process. Eye-tracking architecture shows ancient algorithms directing us even though we can’t perceive them. Architecture that’s humane engages our animal nature acknowledging our remarkable history. In terms of how we take in the world, our ancestors learned the hard way to immediately look for areas of high contrast and other creatures, particularly faces, and they passed the life-saving traits on to us. These behaviors will not go away soon.

archatlas

fiiiiiii asked:

Hey Archy, I've been seeing (mostly in the obligatory lists about female architects on International Women's Day) the idea that women's architecture is somehow different to men's architecture? What do you think about this? Do you think that it makes sense to have separated lists and competitions for women architects? Do you think that women's and men's architecture is indeed different?

archatlas answered:

The Women’s Building Reddymade Architecture & Design

Truth is there is no difference.

But women in 2017, all around the world, must still confront on a daily basis obvious and not-so obvious forms of sexism and oppression, and this includes the architectural profession, where there is still a big gap between women and men in terms of not only numbers but influence and recognition. Until that gap disappears we have to provide these alternate platforms, not because the work is not be able to stand by its own merit, but because the crushing patriarchal structures are still very much in control.

“So, this is where we are now in architecture: hoping (demanding) that gender in all its glorious plurality is not an issue, but still in the trenches, fighting for equal representation. And despite these pulls, there is still the work – the ideas, designs and buildings that transcend any single notion of identity.” ~ Mimi Zeiger

Jan Shrem and Maria Manetti Shrem Museum of Art SO-IL

See, that’s what the app is perfect for.

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Game-Changing Eye-Tracking Studies Reveal How We Actually See Architecture