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La Congiunta by Peter Märkli (1992)
 Via ICON 059: “Some buildings are built for people,” Märkli says, describing this windowless, grey concrete box, still marked with the imprints of construction. “This is built for sculptures. There is just concrete, no electricity, no insulation, just space.” La Congiunta is a container for art, and externally it’s rough, difficult and inaccessible. The building has the qualities of both a neglected Greek ruin and a monument, making literal his interest in ancient history.”

La Congiunta by Peter Märkli (1992)


Via ICON 059: “Some buildings are built for people,” Märkli says, describing this windowless, grey concrete box, still marked with the imprints of construction. “This is built for sculptures. There is just concrete, no electricity, no insulation, just space.” La Congiunta is a container for art, and externally it’s rough, difficult and inaccessible. The building has the qualities of both a neglected Greek ruin and a monument, making literal his interest in ancient history.”


The Hepworth Wakefield by David Chipperfield Architects (2011) (c) Matthew Heptinstall
Via The Architectural Review: “The quest to create an architecture without hierarchy resulted in a cluster of 10 discrete but connected trapezoidal concrete blocks, each containing a single gallery space. The composition suggests a haphazard ease: a faux sang-froid that belies the angst it caused its architect.”

The Hepworth Wakefield by David Chipperfield Architects (2011) (c) Matthew Heptinstall

Via The Architectural Review: “The quest to create an architecture without hierarchy resulted in a cluster of 10 discrete but connected trapezoidal concrete blocks, each containing a single gallery space. The composition suggests a haphazard ease: a faux sang-froid that belies the angst it caused its architect.”

(Source: flickr.com)

Volta Center by Buchner Bründler Architekten (c) Aron Lorincz
Via ArchDaily: “The sculptural form of the building changes from sharp edge into free flow. Within this ambivalence the building is an answer to the various conditions of the urban space.”

Volta Center by Buchner Bründler Architekten (c) Aron Lorincz

Via ArchDaily: “The sculptural form of the building changes from sharp edge into free flow. Within this ambivalence the building is an answer to the various conditions of the urban space.”


15 Untitled Works In Concrete by Donald Judd (1980-1984) (c) Willeke & Bertrand
Via The Chinati Foundation: “We become aware of a modulation from dark to light, which starts with the six almost black volumes, proceeds to the somewhat lighter, intersecting rectangles, and on to the still lighter parallel rectangles, until it arrives at the completely transparent open forms at the end of the series. And we realize that not only the forms, but also the distances between the elements in each of these pieces, are a function of light.” Marianne Stockebrand

15 Untitled Works In Concrete by Donald Judd (1980-1984) (c) Willeke & Bertrand

Via The Chinati Foundation: “We become aware of a modulation from dark to light, which starts with the six almost black volumes, proceeds to the somewhat lighter, intersecting rectangles, and on to the still lighter parallel rectangles, until it arrives at the completely transparent open forms at the end of the series. And we realize that not only the forms, but also the distances between the elements in each of these pieces, are a function of light.” Marianne Stockebrand

Villa in Winterthur by Peter Kunz Architektur (2001)

Villa in Winterthur by Peter Kunz Architektur (2001)

Rufo House by Alberto Campo Baeza (2010)
Via Alberto Campo Baeza: ”Once again, the theme of the Cabin on top of the Cave. Once again, the theme of a tectonic Architecture over a stereotomic Architecture.”

Rufo House by Alberto Campo Baeza (2010)

Via Alberto Campo Baeza: ”Once again, the theme of the Cabin on top of the Cave. Once again, the theme of a tectonic Architecture over a stereotomic Architecture.”

Vila Romana Residence by MMBB (2006) (c) Nelson Kon
Via ArchDaily: “The suspended block is supported on only four points, with prominent overhangs. The two solid slabs that support it are constructed from exposed prestressed concrete. A further layer of concrete conceals the steel reinforcing elements. This concrete and the window system form the façade of the building.”

Vila Romana Residence by MMBB (2006) (c) Nelson Kon

Via ArchDaily: “The suspended block is supported on only four points, with prominent overhangs. The two solid slabs that support it are constructed from exposed prestressed concrete. A further layer of concrete conceals the steel reinforcing elements. This concrete and the window system form the façade of the building.”

NMR Facility by UNStudio (2000)
Via UNStudio: “The two-floor column free laboratory houses eight spectrometers (high-frequency magnets). This influenced decisively the spatial layout of the building, because the radiate force fields these magnets produce may not be disturbed. The building consists of a single concrete surface, which continues from floor plane into the wall and ceiling. The flipping-over surfaces are constructive and are thus not traversed by a secondary support structure of columns.”

NMR Facility by UNStudio (2000)

Via UNStudio: “The two-floor column free laboratory houses eight spectrometers (high-frequency magnets). This influenced decisively the spatial layout of the building, because the radiate force fields these magnets produce may not be disturbed. The building consists of a single concrete surface, which continues from floor plane into the wall and ceiling. The flipping-over surfaces are constructive and are thus not traversed by a secondary support structure of columns.”

Phaeno Science Centre by Zaha Hadid Architects (2005) (c) Hélène Binet (2003)
Via AR: “Cast from over 27,000 cubic metres of selfcompacting concrete, the fact that this building is a technological triumph is not in dispute. […] In completion, however, merit now lies in its holistic coherence, both as a work in its own right - as a synthesis of materiality, space making and formal manipulation - and as an experiment in place-making; or, as Hadid defines it, mini-urbanism.”

Phaeno Science Centre by Zaha Hadid Architects (2005) (c) Hélène Binet (2003)

Via AR: “Cast from over 27,000 cubic metres of selfcompacting concrete, the fact that this building is a technological triumph is not in dispute. […] In completion, however, merit now lies in its holistic coherence, both as a work in its own right - as a synthesis of materiality, space making and formal manipulation - and as an experiment in place-making; or, as Hadid defines it, mini-urbanism.”

Schutzhütte am Fichtelberg By AFF (2010)
Via ICON 087: “AFF used the hut that they had purchased as the mould for the concrete walls. As Frölich says, “The hut preserves the imprint of its predecessor like a patina.” The parallels one could make are numerous – the moulding effect bears a strong similarity to the work of British artist Rachel Whiteread, casting the ghostly voids of objects and buildings, or it can bring to mind Paul Virilio and his Bunker Archaeology. One might even think about philosopher Martin Heidegger’s Black Forest hut, from where he wrote about “authentic dwelling”[…]”

Schutzhütte am Fichtelberg By AFF (2010)

Via ICON 087: “AFF used the hut that they had purchased as the mould for the concrete walls. As Frölich says, “The hut preserves the imprint of its predecessor like a patina.” The parallels one could make are numerous – the moulding effect bears a strong similarity to the work of British artist Rachel Whiteread, casting the ghostly voids of objects and buildings, or it can bring to mind Paul Virilio and his Bunker Archaeology. One might even think about philosopher Martin Heidegger’s Black Forest hut, from where he wrote about “authentic dwelling”[…]”

La Congiunta by Peter Märkli (1992)
 Via ICON 059: “Some buildings are built for people,” Märkli says, describing this windowless, grey concrete box, still marked with the imprints of construction. “This is built for sculptures. There is just concrete, no electricity, no insulation, just space.” La Congiunta is a container for art, and externally it’s rough, difficult and inaccessible. The building has the qualities of both a neglected Greek ruin and a monument, making literal his interest in ancient history.”

La Congiunta by Peter Märkli (1992)


Via ICON 059: “Some buildings are built for people,” Märkli says, describing this windowless, grey concrete box, still marked with the imprints of construction. “This is built for sculptures. There is just concrete, no electricity, no insulation, just space.” La Congiunta is a container for art, and externally it’s rough, difficult and inaccessible. The building has the qualities of both a neglected Greek ruin and a monument, making literal his interest in ancient history.”


The Hepworth Wakefield by David Chipperfield Architects (2011) (c) Matthew Heptinstall
Via The Architectural Review: “The quest to create an architecture without hierarchy resulted in a cluster of 10 discrete but connected trapezoidal concrete blocks, each containing a single gallery space. The composition suggests a haphazard ease: a faux sang-froid that belies the angst it caused its architect.”

The Hepworth Wakefield by David Chipperfield Architects (2011) (c) Matthew Heptinstall

Via The Architectural Review: “The quest to create an architecture without hierarchy resulted in a cluster of 10 discrete but connected trapezoidal concrete blocks, each containing a single gallery space. The composition suggests a haphazard ease: a faux sang-froid that belies the angst it caused its architect.”

(Source: flickr.com)

Volta Center by Buchner Bründler Architekten (c) Aron Lorincz
Via ArchDaily: “The sculptural form of the building changes from sharp edge into free flow. Within this ambivalence the building is an answer to the various conditions of the urban space.”

Volta Center by Buchner Bründler Architekten (c) Aron Lorincz

Via ArchDaily: “The sculptural form of the building changes from sharp edge into free flow. Within this ambivalence the building is an answer to the various conditions of the urban space.”


15 Untitled Works In Concrete by Donald Judd (1980-1984) (c) Willeke & Bertrand
Via The Chinati Foundation: “We become aware of a modulation from dark to light, which starts with the six almost black volumes, proceeds to the somewhat lighter, intersecting rectangles, and on to the still lighter parallel rectangles, until it arrives at the completely transparent open forms at the end of the series. And we realize that not only the forms, but also the distances between the elements in each of these pieces, are a function of light.” Marianne Stockebrand

15 Untitled Works In Concrete by Donald Judd (1980-1984) (c) Willeke & Bertrand

Via The Chinati Foundation: “We become aware of a modulation from dark to light, which starts with the six almost black volumes, proceeds to the somewhat lighter, intersecting rectangles, and on to the still lighter parallel rectangles, until it arrives at the completely transparent open forms at the end of the series. And we realize that not only the forms, but also the distances between the elements in each of these pieces, are a function of light.” Marianne Stockebrand

Villa in Winterthur by Peter Kunz Architektur (2001)

Villa in Winterthur by Peter Kunz Architektur (2001)

Rufo House by Alberto Campo Baeza (2010)
Via Alberto Campo Baeza: ”Once again, the theme of the Cabin on top of the Cave. Once again, the theme of a tectonic Architecture over a stereotomic Architecture.”

Rufo House by Alberto Campo Baeza (2010)

Via Alberto Campo Baeza: ”Once again, the theme of the Cabin on top of the Cave. Once again, the theme of a tectonic Architecture over a stereotomic Architecture.”

Vila Romana Residence by MMBB (2006) (c) Nelson Kon
Via ArchDaily: “The suspended block is supported on only four points, with prominent overhangs. The two solid slabs that support it are constructed from exposed prestressed concrete. A further layer of concrete conceals the steel reinforcing elements. This concrete and the window system form the façade of the building.”

Vila Romana Residence by MMBB (2006) (c) Nelson Kon

Via ArchDaily: “The suspended block is supported on only four points, with prominent overhangs. The two solid slabs that support it are constructed from exposed prestressed concrete. A further layer of concrete conceals the steel reinforcing elements. This concrete and the window system form the façade of the building.”

NMR Facility by UNStudio (2000)
Via UNStudio: “The two-floor column free laboratory houses eight spectrometers (high-frequency magnets). This influenced decisively the spatial layout of the building, because the radiate force fields these magnets produce may not be disturbed. The building consists of a single concrete surface, which continues from floor plane into the wall and ceiling. The flipping-over surfaces are constructive and are thus not traversed by a secondary support structure of columns.”

NMR Facility by UNStudio (2000)

Via UNStudio: “The two-floor column free laboratory houses eight spectrometers (high-frequency magnets). This influenced decisively the spatial layout of the building, because the radiate force fields these magnets produce may not be disturbed. The building consists of a single concrete surface, which continues from floor plane into the wall and ceiling. The flipping-over surfaces are constructive and are thus not traversed by a secondary support structure of columns.”

Phaeno Science Centre by Zaha Hadid Architects (2005) (c) Hélène Binet (2003)
Via AR: “Cast from over 27,000 cubic metres of selfcompacting concrete, the fact that this building is a technological triumph is not in dispute. […] In completion, however, merit now lies in its holistic coherence, both as a work in its own right - as a synthesis of materiality, space making and formal manipulation - and as an experiment in place-making; or, as Hadid defines it, mini-urbanism.”

Phaeno Science Centre by Zaha Hadid Architects (2005) (c) Hélène Binet (2003)

Via AR: “Cast from over 27,000 cubic metres of selfcompacting concrete, the fact that this building is a technological triumph is not in dispute. […] In completion, however, merit now lies in its holistic coherence, both as a work in its own right - as a synthesis of materiality, space making and formal manipulation - and as an experiment in place-making; or, as Hadid defines it, mini-urbanism.”

Schutzhütte am Fichtelberg By AFF (2010)
Via ICON 087: “AFF used the hut that they had purchased as the mould for the concrete walls. As Frölich says, “The hut preserves the imprint of its predecessor like a patina.” The parallels one could make are numerous – the moulding effect bears a strong similarity to the work of British artist Rachel Whiteread, casting the ghostly voids of objects and buildings, or it can bring to mind Paul Virilio and his Bunker Archaeology. One might even think about philosopher Martin Heidegger’s Black Forest hut, from where he wrote about “authentic dwelling”[…]”

Schutzhütte am Fichtelberg By AFF (2010)

Via ICON 087: “AFF used the hut that they had purchased as the mould for the concrete walls. As Frölich says, “The hut preserves the imprint of its predecessor like a patina.” The parallels one could make are numerous – the moulding effect bears a strong similarity to the work of British artist Rachel Whiteread, casting the ghostly voids of objects and buildings, or it can bring to mind Paul Virilio and his Bunker Archaeology. One might even think about philosopher Martin Heidegger’s Black Forest hut, from where he wrote about “authentic dwelling”[…]”

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