#architecturetheory

[para-logic]

Προς Υπεράσπιση των Βαλιτσών / In Defence Of Suitcases

(english below)

Το 1920 ο Λε Κορμπυζιέ εκδίδει στο περιοδικό L’ Esprit Nouveau μια σειρά «προγραμματικών σημειώσεων», τις οποίες μετά θα τις έπαιρνε και θα τις ανέπτυσσε στο βιβλίο του Για Μια Νέα Αρχιτεκτονική (1923). Στο ίδιο βιβλίο είναι που διατυπώθηκαν ιδέες όπως το ότι «Η Κάτοψη είναι ο Παραγωγός» και διατυπώσεις – σχεδόν κλισέ, μα όχι ψευδείς – για «μάτια που δεν βλέπουν». Δηλώσεις οι οποίες εδώ και 100 χρόνια επιμένουν ακριβώς γιατί είναι προφανείς. Βέβαια, βοηθαεί το πομπώδες ύφος τους. Αλλά δεν παύουν να είναι πράγματα τα οποία οι αρχιτέκτονες (και όχι μόνο) ασπάζονται μέχρι και σήμερα. Μέσα σε όλα τα λόγια του κειμένου αυτού όμως, υπάρχει και το εξής απόσπασμα:

«the Plan proceeds from within to without; the exterior is the result of the interior»

Και εδώ είναι που φανερώνεται, δειλά, η θεμελιώδης ρίξη του σύγχρονου αρχιτέκτονα με τον Λε Κορμπυζιέ. Διότι εδώ, 4 χρόνια πριν το Plan Voisin, φαίνεται η αδιαφορία για την σημασία της πόλης ως κάτι το υφιστάμενο, ως ένα τοπίο εξίσου ιερό με αυτό της υπαίθρο��.

Μην με παρεξηγείτε, αναγνώστες. Σαφώς το εσωτερικό ενός κτηρίου έχει άμεση σχέση με το κέλυφος του. Σαφώς είναι θεμιτό (και πολλές φορές, συμβατικά ωραίο) το εσωτερικό να εκμεταλλεύεται την όψη ως πλατφόρμα έκφρασης.

Η διαφωνία μου προκύπτει από την αντίληψη που διατυπώνεται στην άνωθι δήλωση ότι η αρχή της όψης και του κτηρίου είναι πάντα το εσωτερικό του. Διότι, αυτές οι δηλώσεις παραπέμπουν σε εντελώς προγραμματικές/χρηστικές έννοιες του χώρου, ανάβοντας κεράκια στον βωμό του μακαρίτη του Louis Sullivan. Μια ψωριάρικη, αλυσοδεμένη Μορφή την οποία σπρώχνει από το λουρί μια αυστηρή και βίαιη Λειτουργία.

Αν μας έχουν μάθει κάτι οι σύγχρονες θεωρήσεις του αστικού χώρου (βλ. The Image of the City, (Kevin Lynch, 1960), The Architecture of the City (Aldo Rossi, 1966)) είναι ότι η προγραμματική προσέγγιση στον σχεδιασμό της πόλης οδηγεί σε πολλές παρανοήσεις. O Aldo Rossi εξηγεί το ζήτημα με αυτό που αποκαλεί «φονξιοναλιστική προσέγισση στον αστικό σχεδιασμο» (το σχετικό απόσπασμα βρίσκεται στο τέλος του κειμένου)

Όμως, πρέπει να αναρωτηθούμε αν ο Rossi μίλαγε αυστηρά για την πόλη. Γιατί κατά την γνώμη μου, είναι άκρως δόκιμο να πει κανείς ότι η ίδια προσέγγιση ισχύει και για τον σχεδιασμό κτηρίων.

Ένας καθηγητής μου, στο τρίτο εξάμηνο των αρχιτεκτονικών μου σπουδών, μου είχε πει ότι «δεν σχεδιάζουμε κτήρια βαλίτσες, στα οποία προσπαθούμε να χωρέσουμε το πρόγραμμα που μας δόθηκε». Και ενώ καταλαβαίνω ότι αυτή είναι μια πολυδιάστατη συμβουλή, δεν μπορώ παρά να διαφωνήσω εν μέρει. Οι βαλίτσες είναι αυτές που δημιουργούν έναν χώρο που επικοινωνεί με την πόλη και δημιουργούν έναν χώρο στον οποίο μπορεί να υπάρξει μια πληθώρα χρήσεων, και αυτό είναι πιο εμφανές σήμερα από ότι οποτεδήποτε άλλοτε, όπου εργοστάσια γίνονται μουσεία τέχνης και εβραϊκές συναγωγές γίνονται μπαράκια.

 Στο τέλος της ημέρας, ίσως έχουμε ευθύνη (οι αρχιτέκτονες) απέναντι στην ζωντανή, εξελισσόμενη πόλη να φτιάχνουμε χώρους ευέλικτους, και ας χρειαστεί να θυσιάσουμε την άπειρη καλλιτεχνική μας έκφραση - ή αλλιώς, τον δικό μας σαδιστικό φετιχισμό με το να υποβάλλουμε τις απόψεις ��ας για τις πιθανές χρήσεις χώρων πάνω στα θύματα-χρήστες των χωρών που σ��εδιάζουμε.

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In 1920, Le Corbusier published in the magazine L’Esprit Nouveau a series of "programmatic notes," which he would later take and further develop in his book Towards a New Architecture (1923). It was in this same book that ideas were formulated such as "The Plan is the Generator," along with almost cliché—yet not untrue—statements like "eyes that do not see." Statements that have persisted for a hundred years precisely because they are self-evident. Of course, their grandiose tone helps. But they remain concepts that architects (and not only architects) still embrace to this day.

Amid all the words of that text, however, there is the following excerpt:

"the Plan proceeds from within to without; the exterior is the result of the interior"

And here is where the fundamental rift between the modern architect and Le Corbusier timidly emerges. Because here, four years before the Plan Voisin, we see a disregard for the significance of the city as something that already exists, as a landscape just as sacred as that of the countryside.

Don't get me wrong, dear readers. Of course the interior of a building has a direct relationship with its shell. Of course it's valid (and often, conventionally beautiful) for the interior to utilize the façade as a platform for expression. My disagreement stems from the notion expressed in the above statement—that the origin of a building’s façade and structure is always its interior. Because such statements refer to purely programmatic/functional concepts of space, lighting candles at the altar of the late Louis Sullivan. A mangy, chained-up Form being dragged around by a strict and violent Function.

If modern understandings of urban space have taught us anything (see The Image of the City by Kevin Lynch, 1960, The Architecture of the City by Aldo Rossi, 1966), it's that a programmatic approach to city design leads to many misconceptions. Aldo Rossi addresses this issue with what he calls a “functionalistic approach to urban design” (the relevant passage is found at the end of his text).

But we must ask ourselves whether Rossi was speaking strictly about the city. Because in my view, it is absolutely valid to say that the same approach applies to building design as well.

A professor of mine, in the third semester of my architectural studies, once told me: “We don’t design suitcase-buildings, into which we try to cram the given program.” And while I understand that this is a multidimensional piece of advice, I can’t help but partially disagree. It’s the suitcases that create a space capable of communicating with the city and allow for a multitude of uses to emerge—and this is more apparent today than ever, in a time when factories become art museums and Jewish synagogues become bars.

At the end of the day, perhaps we (architects) have a responsibility toward the living, evolving city to create flexible spaces—even if it means sacrificing our boundless artistic expression, or in other words, our sadistic fetish for imposing our own views on the potential uses of spaces onto the victims-users of the environments we design.

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απόσπασμα από το βιβλίο "Η Αρχιτεκτονική της Πόλης" του Aldo Rossi / excerpt from "The Architecture of the City" by Aldo Rossi

“We have indicated the principal questions that arise in relation to an urban artifact—among them, individuality, locus, memory, design itself. Function was not mentioned. I believe that any explanation of urban artifacts in terms of function must be rejected if the issue is to elucidate their structure and formation.

We will later give some examples of important urban artifacts whose function has changed over time or for which a specific function does not even exist. Thus, one thesis of this study, in its effort to affirm the value of architecture in the analysis of the city, is the denial of the explanation of urban artifacts in term s of function. I maintain, on the contrary, that far from being illuminating, this explanation is regressive because it impedes us from studying forms and knowing the world of architecture according to its true laws.

We hasten to say that this does not entail the rejection of the concept of function in its most proper sense, however, that is, as an algebra of values that can be known as functions of one another, nor does it deny that between functions and form one may seek to establish more complex ties than the linear ones of cause and effect (which are belied by reality itself).

More specifically, we reject that conception of functionalism dictated by an ingenuous empiricism which holds that functions bring form together and in themselves constitute urban artifacts and architecture. So conceived, function, physiological in nature, can be likened to a bodily organ whose function justifies its formation and development and whose alterations of function imply an alteration of form. In this light, functionalism and organicism, the two principal currents which have pervaded modern architecture, reveal their common roots and the reason for their weakness and fundamental ambiguity.

Through them form is divested of its most complex derivations: type is reduced to a simple scheme of organization, a diagram of circulation routes, and architecture is seen as possessing no autonomous value. Thus the aesthetic intentionality and necessity that characterize urban artifacts and establish their complex ties cannot be further analyzed. Although the doctrine of functionalism has earlier origins, it was enunciated and applied clearly by Bronislaw Malinowski, who refers explicitly to that which is man-made, to the object, the house:

“Take the human habitation . . . here again the integral function of the object must be taken into account when the various phases of its technological construction and the elements of its structure are studied. ”

From a beginning of this sort one quickly descends to a consideration solely of the purposes which man-made items, the object and the house, serve. The question “for what purpose?” ends up as a simple justification that prevents an analysis of what is real. This concept of function comes to be assumed as a given in all architectural and urbanistic thinking and, particularly in the field of geography, leads to a functionalist and organicist characterization of a large part of modern architecture.

In studies of the classification of cities, it overwhelms and takes priority over the urban landscape and form; and although many writers express doubts as to the validity and exactitude of this type of classification, they argue that there is no other viable classification to offer as an alternative. Thus Georges Chabot, after declaring the impossibility of giving the city a precise definition because there is always a “residue” that is impossible to describe in a precise way, then turns to function, even if he immediately admits its inadequacy.

In such formulations, the city as an agglomeration is explained precisely on the basis of what functions its citizens seek to exercise; the function of a city becomes its raison d’etre, and in this form reveals itself. In many cases the study of morphology is reduced to a simple study of function. Once the concept of function is established, in fact, one immediately arrives at obvious classifications: commercial cities, cultural cities, industrial cities, military cities, etc.

Moreover, even in the context of a somewhat general critique of the concept of function, it must be pointed out that there is already within this system of assigning functions a difficulty in establishing the role of the commercial function. In fact, as proposed, the concept of classification according to function is far too superficial; it assumes an identical value for all types of functions, which simply is not the case. Actually, the fact that the commercial function is predominant is increasingly evident. This commercial function is the basis, in term s of production, of an “economic” explanation of the city that, beginning with the classical formulation offered by Max W eber,15 has undergone a specific development, one to which we shall have to return later. Given a function-based classification of the city, it is only logical that the commercial function in both the city’s formation and its development presents itself as the most convincing explanation for the multiplicity of urban artifacts and is tied to economic theories of the city.

Once we attribute different values to different functions, we deny the validity of naive functionalism; in fact, using this line of reasoning, we see that naive functionalism ends up contradicting its own initial hypothesis. Furthermore, if urban artifacts were constantly able to reform and renew themselves simply by establishing new functions, the values of the urban structure, as revealed through its architecture, would be continuous and easily available. The permanence of buildings and forms would have no significance, and the very idea of the transmission of a culture, of which the city is an element, would be questionable. None of this corresponds to reality. Naive functionalist theory is quite convenient for elementary classifications, however, and it is difficult to see what can substitute for it at this level.

It serves, that is, to maintain a certain order, and to provide us with a simple instrumental fact—just so long as it does not pretend that an explanation for more complex facts can be extracted from this same order. On the other hand, the definition of type that we have tried to propose for urban artifacts and architecture, a definition which was first enunciated in the Enlightenment, allows us to proceed to an accurate classification of urban artifacts, and ultimately also to a classification based on function wherever the latter constitutes an aspect of the general definition. If, alternatively, we begin with a classification based on function, type would have to be treated in a very different way; indeed, if we insist on the primacy of function we must then understand type as the organizing model of this function. But this understanding of type, and consequently urban artifacts and architecture, as the organizing principle of certain functions, almost totally denies us an adequate knowledge of reality.

Even if a classification of buildings and cities according to their function is permissible as a generalization of certain kinds of data, it is inconceivable to reduce the structure of urban artifacts to a problem of organizing some more or less important function. Precisely this serious distortion has impeded and in large measure continues to impede any real progress in studies of the city. For if urban artifacts present nothing but a problem of organization and classification, then they have neither continuity nor individuality. Monuments and architecture have no reason to exist; they do not “say” anything to us. Such positions clearly take on an ideological character when they pretend to objectify and quantify urban artifacts; utilitarian in nature, these view s are adopted as if they were products for consumption. Later w e will see the more specifically architectural implications of this notion. To conclude, we are willing to accept functional classification as a practical and contingent criterion, the equivalent of a number of other criteria—for example, social make-up, constructional system , development of the area, and so on— since such classifications have a certain utility; nonetheless it is clear that they are more useful for telling us something about the point of view adopted for classification than about an element itself. With these provisos in mind, they can be accepted”

[normally0]

Architecture as Sign: A Semiotic Approach to Space, Meaning, and Cultural Intervention

In architecture, the transition of an object from raw material to meaningful artifact is not merely a physical act but a semiotic one. It is this transformation that turns stone into a "club" or a natural hollow into a "cave"—a shift in perception where human intentionality and cultural frameworks shape how we see and interact with the world around us. The process involves the mind's intervention, reshaping our relationship to natural materials without necessarily altering their physical form. This transformation is fundamentally semiotic, relying on signs and symbols to encode new meanings.

The interplay of mind, signs, and objects underscores the interdependency of how we define these concepts. Through intentionality, an object is imbued with new significance. This is not merely an intellectual exercise but one rooted in human history and everyday experience. The transformation of a horizon into a meaningful boundary or a landscape into a cultural profile shows how even our most basic interactions with the environment are deeply symbolic.

In the realm of architecture, these processes unfold on a grand scale. The Modernist assumption that architecture is a functional response to industrialized society—seen in the idea that buildings are shaped by "inevitable, logical" forces—misses the inherent value systems architecture conveys. Far from being value-free, every structure embodies an ideological stance, consciously or otherwise. The design of a building is a form of meaning-making, where spaces are organized and interpreted according to a specific worldview.

Historically, classical architecture emphasized the representation of nature through ornamental forms, suggesting a mimetic relationship between the built and natural environments. Yet even this imitation was complex and often ambiguous, as certain classical elements derived only loosely from nature. This reveals a deeper principle: architecture is not merely a mirror of the natural world but a reinterpretation of it, imbued with human ideas and social orders.

Modern architecture, particularly in totalitarian contexts, illustrates how buildings can become overt political symbols. The avant-garde movements of the 1920s, including Constructivism, embraced advanced forms that symbolized the ideology of a new social order. The push for "minimum existence" dwellings, for instance, reflected not only practical responses to urban problems but also a broader political vision about how people should live. This example illustrates the extent to which architecture is embedded within broader ideological systems, where even the simplest design choices carry the weight of political and social narratives.

By examining architecture through the lens of semiotics, we see that every element—from material choices to spatial arrangements—is a signifier of deeper meanings. This understanding urges us to rethink how architecture functions in society, not merely as a solution to material or functional problems but as a communicative act that shapes cultural, political, and existential understanding.

Architects, therefore, must become conscious of their role as creators of signs, using space not just to build but to signify and critique the cultural systems they inhabit. This recognition opens the door for more radical, reflective design approaches that question the existing narratives and ideologies embedded in our built environments, ultimately proposing new ways to engage with the world around us.

Incorporating the perspectives derived from semiotic theory, this analysis aims to provoke new thinking on how architecture can serve not only as a practical art but as a form of cultural intervention. Through signs and symbols, architecture becomes a medium for expressing—and challenging—the social and political forces that shape our lives.

[studiokultuurscape]

Collage of different threads weaving through the city fabric

Collage architecture allows architects to weave narratives that transcend conventional verbal expression. It emerges as a potent medium for expressing abstract ideas within the architectural realm. A collage is the fusion of disparate fragments into a unified composition imbuing it with a new, collective meaning. This method offers architects the ability to layer stories within their designs, utilizing a structuralist notion to create cohesion from diversity.

Through the juxtaposition of materials and scenes collage architecture breathes life into spaces, each element contributing to a larger narrative. In this way, collage serves as a visual language and becomes a means of storytelling, where the built environment becomes a canvas for expressing the complexities of identity in a globalized world. By harnessing the power of art, collage architecture fosters a dialogue between form and meaning, shaping spaces that resonate with the richness of human experience.

However it also raises questions about coherence and functionality. The emphasis on layering narratives and disparate fragments could lead to a lack of clarity or functionality in design. Additionally, the subjective nature of interpretation may result in spaces that are challenging for users to understand. Moreover, sustainability and lack of longevity of collage architecture can be concerning. Furthermore the reliance solely on artistic expression in collage architecture could overshadow practical considerations such as structural integrity or building regulations. Perhaps thats where the skill of the architect-artist comes in? Overall, while collage architecture offers a unique approach to architectural expression, it has to be used with nuance and faces criticism regarding its coherence, functionality, and long-term viability.

What do you read in this collage of an apartment building in the heart of historic Antwerp, Belgium? Comment below

Constructing Narratives: The Art of Identity in Built Spaces

[srrussel1]

Diagrammatic Study; Design Thinking; Rachael Dippel; #architecturegraphics #architecturedrawing #archidiagram #diagramarchitecture #abstraction #architectureabstract #abstractcomposition #explodedview #architecturetheory #thearchiologist #critday #thebestnewarchitects #archit_magazine #youngarchitectsplatform #thinkingarchitecture #archi_labs #showitbetter #arch.draw #arcfly #wisearchi #next_top_architects https://www.instagram.com/p/CSRoClmLDlw/?utm_medium=tumblr

[dariazayts]

https://www.behance.net/gallery/74965981/City-of-destiniesSpiritual house.

The House considers that in this vain world it is just necessary to learn to reduce speed of events for fruitful work and happy existence.The ode of slowness is capable to strengthen impressions of an era of idleness.The House sings of the “world for rest”, but it came to it not at once. The earth on which he lives is filled by inhabitants, similar to him. Towers of the same height, growing with a wild speed and quickly collapsing, because of weak support. After withering on this place new fortress grows. This circulation has the extraordinary speed which does not give in to understanding of our hero. He is tired of staying in a space of one-day of existence (as a short-lived butterfly). He chose a place for growth, near the colleagues, he chose himself the way "Without vanity". The house wanted to observe sunsets and sunrises, how waves crash into stones, to listen to the singing of birds in the morning, to feel how the structure of its interior grows and grows stronger. The cover of all residents of the town is identical, and the area and color of spiritual space differs.Some have nuances, and others contrasts, and some darkness. But this House just exhaled bright colors (red, blue, yellow, turquoise etc.). Each inhabitant has a form-patron on the roof. The totem of the House was not the same as others had — it had a shabby wooden log hut, which appeared that it’s just about to collapse. All  other form-patrons of houses represented fortresses, beacons and stone constructions.The union of the owner and the object happened for a reason. The house planned to develop further, but its totem was at the final days of existence, and without form patron he will not be able to grow up in new life. Having prepared for own destruction, he looked at the horizon one last time.It was so silent, so quiet, so there was a wish that this day was remembered in the following life, but the destiny disposed differently. Wind flies up and forces down a tower, that falls sideways and slides down the mountain, and wind shouts to it: "Do not worry, you will meet on the way the impudent artist with a painted body and the careful athlete in a wooden chain armor, he will take care of your patron, and you will be able see sunrises and sunsets, and together you will find the earth, not many people will know about, there you will create the happy city." The place of their casual meeting was this earth. The place which is not marked on the map and exists in nonexistent scale. Architects as equals participated in the drama of emergence of the city, rhythms and loud (silent) sounds of ratios of forms organized an ornament, comfortable for everyone.

https://www.behance.net/gallery/74965981/City-of-destinies

[rafovargas]

Micro Architectural Concept Detail #Archidoodle #experimentalarchitecture #アーキテクチャ #nextarch #architecturalproject #architektur #diseño ⠀ #diseñoarquitectonico #arquitectura #legoarchstudio #legoarchstudiogroup ⠀ ⠀ #legoarchitect #archimodel #modernism #archsketch #conceptart ⠀ ⠀ ⠀ #conceptarchitecture #architecturalgraphics #architecturedesign #architecturetheory #architectsvision #architecture_hunter ⠀ ⠀ #architecturelovers #architectureporn #archidaily #architecture ⠀ ⠀ #rafovargas https://www.instagram.com/p/BtlqMB3H73i/?utm_source=ig_tumblr_share&igshid=1n4bg7jqkjmyn

[eniatype]

Shaun Murray: Detail of Tellurian Relics, Surrealist Thames-side Piers, London, 2017. Airbrush on line board. The Tellurian Relics project (2017) begins with the provisional premise that our environment is composed of a multiplicity of grounds, but that these are generally unforeseen since they arise with the emergence of the species that forms them. Ground and species are one. Through an understanding that objects cannot be fully explained in terms of their material constituents and the energy within them, ‘objects’ seems to be something over and above the material components that make it up, but at the same time it can be expressed only through the organisation of matter and energy. It is also possible to distinguish that different participants have different Umwelten (the environmental factors, collectively, that are capable of affecting the behaviour of an ENIAtype architecture), even though they share the same environment. This paradox enables architecture practices to go beyond shaping geometry, to shaping the internal structure of material. 
#superarchitects #colour #architecturestudent #riverthames #architecture #eniatype #avantgarde #movement #bird #drawings #architecturaldesign #shaunmurray #aaschool #superarchitects #arqsketch #iarchitectures #archisketcher #architecturalnotation #arch_more #architectura #visualarts #graphic #architecturetheory #archilibs #drawing #shaunpatrickmurray #flight #designboom #dezeen #art #airbrush (at Battersea)

[oscarrieraojeda]

Figures Essays on Contemporary Architecture

Authored by Rodolphe el Khoury Introduction by George Baird

The essays consider the contemporary architectural scene from a variety of perspectives in theory and practice. They include seminal pieces that framed important debates in the eld, such as the introduction to the exhibition catalogue Monolithic Architecture, as well as observations on buildings and practices from around the world, from Santiago, to Beirut and Beijing. Together, the polemical provocations and interpretive insights construct a critical panorama of a global architectural landscape in rapid transformation since the 1990s.

The book is divided into there parts. Polemics” addresses broad issues and trends with essays that claim a position in current debates. “Agents” examines the oeuvres of particular architects, with pieces that situate their work in relation to such debates. “Artifacts” takes on single buildings, instances where ideas are sedimented into form to situate current architectural discussions in concrete objects.

Book Size: 7.5 x 8.5 in / 165 x 215 mm Box Size: 8.85 x 11.4 x 1.37 in / 225 x 290 x 35 mm Format: Portrait Pages: 400 Language: English Photographs: 215 Illustrations: 115 Edition/ISBN: Hardcover in slipcase (978-988-12249-5-8)

Available online: https://www.oropublishers.com/collections/bestdealtoday/products/figures-essays-on-contemporary-architecture

[stevewallet]

Not for everyone...get my cartoon books at stevewallet.com . #architect #architecture #architectural #theory #modern #modernism #architects #architecturetheory #arttheory #modernarchitecture #modernism #modernart #arthistory #lecture #friends #tedtalks #podcast #imlistening #stevewallet #illustration #cartoon #cat #catstagram #mylife #catsofinstagram #sketch https://www.instagram.com/p/Bp7bI1qgNRH/?utm_source=ig_tumblr_share&igshid=kb5hq74wn3la

[archilibs]

Machinic Aggregation #drawing #archilibs #architecture #experimentalarchitecture #visualart #visualarchitects #drawingarchitecture #drawingismylife #drawingdaily #sketching #sketches #sketchbooking #architecturelife #designresearch #architexture #arch_more #architecturalnotation #architecturestudent #experimentalarchitecture #sketchporn #architecturedrawing #visualarts #graphic #superarchitects #architecturetheory #theoreticalarchitecture #archisketcher #drawings https://www.instagram.com/p/Bq51NixF116/?utm_source=ig_tumblr_share&igshid=1txkl5mk7r5m6

[unixyzofficial]

Ideas that may bring urban spaces to life . Connect/Commune by Alan Frost . Connect/Commune seeks to allure humans to reconnect with other humans using the same technologies that persuaded disconnection in the first place. The underlying motive is to provide an opportunity for removal from the mundane ? the noise, the smells, the grime, the hustle ? and allow for a moment of quiet communion with nature...the universe' the divine. . View full project on : https://to.uni.xyz/elevate . Call for ideas to explore architecture theory through design experimentation. Check out: https://to.uni.xyz/unwinding . . . #uni #unixyz #unidesigntogether #architecture #architecturecompetition #architecturelovers #archdaily #architizer #architectureanddesign #archi_students #architecturestudent #archinet #architecturethesis #designcompetition #conceptualdesign #elevate #urbanvoid #urbandesign #publicspaces #connect #commute #architecturetheory #theoriticalstudy #mundane #technology #disconnection #hustle (at New York City , USA) https://www.instagram.com/p/CBfAKvDpRig/?igshid=12wmkgsidhutp

[sdaarchitect]

#juhanipallasmaa #eyesoftheskin #architecturequotes #sdaarchitect #architectdelhi #architect #architecture #architectquotes #designquotes #archilovers #archilife #archistudent #architecturedaily #dezeen #instaquotes #archiquotes #archifound #nextarch #arquitetura #architecturebook #architecturetheory #архитектура #architettura #architektur #architektura #arquitetura #arkitektur #epiteszet #arsitektur #建築 — view on Instagram https://scontent.cdninstagram.com/vp/ecb5a497a66eff8cede278267d1c6674/5D9C6D77/t51.2885-15/sh0.08/e35/s640x640/62256148_175175270174654_7497596519783026792_n.jpg?_nc_ht=scontent.cdninstagram.com

[srrussel1]

Design Thinking; Phenomenology of Perception; Marie Wright; #architecturegraphics #architecturetheory #architecturephenomenon #architecturesection #architecturemodel #conceptmodel #studymodel #sectionmodel #abstraction #architectureabstract #conceptualperspective #thearchiologist #critday #thebestnewarchitects #archit_magazine #youngarchitectsplatform #thinkingarchitecture #archi_labs #showitbetter #建築模型 #archdraw #arcfly #wisearchi #next_top_architects https://www.instagram.com/p/CT4pXJhLdMQ/?utm_medium=tumblr

[dariazayts]

Main characters -polar house-the house at the foot of the phosphoric mountain-spiritual house-wind This city was fated to appear.Situated on distant lands, which you can only reach astride an eagle.Three houses became its founders.They arrived to this earth from different parts of the world.

https://www.behance.net/gallery/74965981/City-of-destinies

[rafovargas]

new view of #house #Archidoodle #experimentalarchitecture #アーキテクチャ #nextarch #architecturalproject #architektur #diseño ⠀ #diseñoarquitectonico #arquitectura #legoarchstudio #legoarchstudiogroup #legoarchitect #archimodel #modernism #archsketch #conceptart #conceptarchitecture #architecturalgraphics #architecturedesign #architecturetheory #architectsvision #architecture_hunter #architecturelovers #architectureporn #archidaily #architecture #rafovargas ⠀

[arahovsepyan]

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#tbt to John Hejduk’s response to Peter Eisenman’s assessment of his work... “YOU can’t get in them!” _________________________ #throwbackthursday #JohnHejduk #PeterEisenman #CooperUnion #thecooperunion #architecture #archilovers #superarchitects #architectureandpeople #design #instagood #instadaily #architecturegram #architecturestudio #iarchitectures #architecturemodel #architectureschool #architectureporn #architecturetheory #arqsketch #ճարտարապետ #շինություն #architecturetheoryandpractice #blog #建筑 #设计 #爱 #艺术 #今日照片 (at The Cooper Union) https://www.instagram.com/p/B7G7BQkJN7T/?igshid=14ordmuvvmleo