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archatlas:

Eladio Dieste

"I studied engineering because I am interested physics astronomy - I am fascinated by the posibility of understanding reality through the physical mathematical language." Eladio Dieste

In an industry so often enamored by media-coddled superstars with trendy clients, Eladio Dieste stands out as a refreshing and inspiring figure. Born in Uruguay, Dieste spent most of his long and productive career creating industrial and agrarian works, public infrastructure, commercial buildings, and small churches in his native country. Dieste’s unique and innovative method of design, a melding of architecture and engineering, elevated these often humble buildings to masterworks of art. Capitalizing on his revolutionary approach to building with reinforced masonry, Dieste built aesthetically stunning structures economically. If he often worked outside the architectural mainstream, he never lost sight of the modest people for whom his structures were built.” Eladio Dieste: Innovation in Structural Art by Stanford Anderson

Images found here.

Thanks Sam for reminding me of Dieste!

impossibleatlas:

#Robert Filliou #Optimistic Box n° 1 #1968

Robert Filliou (17 January 1926 - 2 December 1987) was a French Fluxus artist, who produced works as a filmmaker, “action poet,” sculptor, and happenings maestro

impossibleatlas:

#Robert Filliou #Optimistic Box n° 1 #1968

Robert Filliou (17 January 1926 - 2 December 1987) was a French Fluxus artist, who produced works as a filmmaker, “action poet,” sculptor, and happenings maestro

archatlas:

Serpentine Pavilion 2014 Smiljan Radić

"Occupying a footprint of some 514 square metres on the lawn of the Serpentine Gallery, plans depict a semi-translucent, cylindrical structure, designed to resemble a shell, which rests on large quarry stones. This work has its roots in the architect’s earlier work, particularly The Castle of the Selfish Giant, inspired by the Oscar Wilde story and the Restaurant Mestizo - part of which is supported by large boulders.

The 2014 Pavilion is designed as a flexible, multi-purpose social space with a café sited inside. Visitors will be encouraged to enter and interact with the Pavilion in different ways throughout its four month tenure in the Park. On selected Friday nights, between July and September, the Pavilion will become the stage for the Galleries’ Park Nightsseries, sponsored by COS: eight site-specific events bringing together art, poetry, music, film, literature and theory and including three new commissions by emerging artists Lina Lapelyte, Hannah Perry and Heather Phillipson.” [via]

Images by Iwan Baan

 

 Key Savings and Loan Association, 1960

 House of Genesee, 1963

Charles Deaton:

Born in Clayton, New Mexico in 1921. 
The first home Charles Deaton can remember is a tent. He was only three when his family of five moved from Arkansas to a 10-acre farm in Oklahoma, with all their possessions loaded in a wagon, pulled by a horse and followed by a cow. Before they finished building a simple one-room house on their new farm, the Deaton family would spend two winters living in a tent on the open Oklahoma plains. The youngest occupant of that tent went on to become a self-taught but internationally-acclaimed architect, as well as an industrial designer, sculptor and inventor. Young Charles delivered newspapers in order to buy books and clothing for high school and to buy supplies to teach himself commercial art at night. By age 16, he was supporting himself entirely from his newfound craft. A specialist in commercial rather than residential architecture, Deaton has designed projects in 36 states and Canada, including the Wyoming National Bank in Casper and the Key Savings Building in Denver. He also was architect for the two-stadium Harry S. Truman Sports Complex in Kansas City.

http://www.moderndesign.org/2006/04/charles-deaton-key-savings.html

impossibleatlas:

#Bureau-atelier #Jean Prouvé # Nancy #1947 

impossibleatlas:

#Bureau-atelier #Jean Prouvé # Nancy #1947 

ug:

Faculty of Architecture and Urbanism (FAU) São Paulo University;Joao Batista Vilanova Artigas
Kawamura Ganjavian - NEWS

ug:

Faculty of Architecture and Urbanism (FAU) São Paulo University;Joao Batista Vilanova Artigas

Kawamura Ganjavian - NEWS

(via mirokurcik)

effettobeaubourg:

Francesco Borromini-Palazzo Spada, 1632 Roma

(via onsomething)

magictransistor:

Nehemiah Grew. Anatomy of Plants. 1680.

(via davidhannafordmitchell)

thedesignwalker:

simple table by Katarzyna Knebel

thedesignwalker:

simple table by Katarzyna Knebel

http://www.cam.gulbenkian.pt/index.php?article=72668&visual=2&queryParams=orderby|asc,data_i|2013,tipo_ano|ano&position=1&queryPage=0&langId=2
Túlia Saldanha (Peredo, Macedo de Cavaleiros, 1930-1988) 
Túlia Saldanha explored the mediums of installation, the creation of environments, performance, drawing and painting, practices with which she began her artistic career and to which she returned with great intensity in the last stage of her life.
Developed between the late 60s and 80s, her work accompanied the transformations that took place during this era, which embraced experimentation and broadened borders to take art outside of the traditional disciplines of painting and sculpture. It defended processes of artistic production as a work in itself and the close, continuous relationship between artistic experience and life.
The Banquet II, 1979, Gallery Diferença, Lisbon

http://www.cam.gulbenkian.pt/index.php?article=72668&visual=2&queryParams=orderby|asc,data_i|2013,tipo_ano|ano&position=1&queryPage=0&langId=2

Túlia Saldanha (Peredo, Macedo de Cavaleiros, 1930-1988) 

Túlia Saldanha explored the mediums of installation, the creation of environments, performance, drawing and painting, practices with which she began her artistic career and to which she returned with great intensity in the last stage of her life.

Developed between the late 60s and 80s, her work accompanied the transformations that took place during this era, which embraced experimentation and broadened borders to take art outside of the traditional disciplines of painting and sculpture. It defended processes of artistic production as a work in itself and the close, continuous relationship between artistic experience and life.

The Banquet II, 1979, Gallery Diferença, Lisbon

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