1. Proposal for a Cenotaph near Bad Berka (1930), Wilhelm Kreis 

     

  2. mikasavela:

    Andrea Palladio’s Villa Almerico Capra, “La Rotonda” (1567-92).

    The villa’s position between the Bacchiglione valley and the hills around Vizenza., and View from the four porticos. From Design and Analysis by Bernard Leupen, Christoph Grafe and Nicola Körnig (eds.), 1997.

    (Source: books.google.com.hk)

     

  3. fuckyeahbrutalism:

    Humanities and Social Sciences Center, Long Island University, Brooklyn, New York, 1968

    (Davis, Brody & Associates)

    (via utopiarchive)

     

  4. archaeoart:

    Nebatean ruins of Mada’in Saleh, Saudi Arabia, circa 1960.

    (via utopiarchive)

     

  5. Hochzeitsturm and Exhibition Hall (1907/1908) Mathildenhöhe Darmstadt, planned by Joseph Maria Olbrich

     „Denn die neue große Weltanschauung wird hervorgehen aus der Vernichtung der Vernunft und aus der exakten Erkenntnis der Natur, - aus dem machtvollen Willen zum Leben und zum Menschen-Ich - und aus der Geringschätzung und der starken Überwindung irdischer Mühseligkeiten und Gefahren. Die Tempelkunst dieser neuen Weltanschauung wird wieder fröhlich und heiter sein, sie wird die heiligsten und geheimsten Fragen unserer Naturerkenntnis zum Ausdruck bringen - und reich und verschwenderisch in ihrer Sonnenfülle sich als die Gesamtkunst allen dahingegen. Wir leben in einer Zeit des Gebärens und des Werdens. Rätselhafte Zeichen erscheinen auf allen Gebieten der Baukunst. Es geht ein Frühlingswehen durch alte, längst vermoderte Kunstideen. Mir ist Hoffnungsvoll und tanzlustig zu Mute! Mit Freude blickt mein Auge auf die Baukunst um das Jahr 1900: Die Große Geburt ist noch notwendig! Sie muß kommen, die neue Kunst, die neue Tempelkunst.“

    Theo Hamacher-Stivarius (1901)

     

  6. Plan of the First Goetheanum (1913-1921), Rudolf Steiner

     

  7. archimaps:

    Hypothetical reconstruction of the Mausoleum of Halicarnassus

    (via davidhannafordmitchell)

     

  8. Municipal Baths in Hilversum (1920), Willem Marinus Dudok

     

  9. AEG turbine factory (1909), Peter Behrens

    "Technical form [e.g., a factory] is not so objective that it is independent of the personality of the man who discovers that latent form. Consequently, it is not insignificant wether it should be Behrens or someone else who speaks the magic word which delivered this form. The character and the intensity of this formal revelation is doubtless determined by the power of the utterance and the grandeur of the gesture with which the prophet allows the rhythm which is concealed within necessities to comprehend and materialize itself. On the other hand, … the form which finally crystallizes is only the predestined variation of the single possible theme; it is a clearly cut facet through one receives an insight into the estethic heart of the condition of tension of the powers which have been bound in the material but which have been brought to form.[…] Behrens must be named a forerunner of that future religion of form who knows how to grasp the sacred desire of our day in the pathos of his lines and in the radiant tension of his spaces; he appears to be called to build an optical shrine, a temple. As Behrens sets out to achieve compelling symbols for electricity , he feels more strongly than ever that sacred will which would erect an festival house on the high mountain of which Behrens himself, as a world-priest of beauty said: "Here above we are filled with the impression of a higher purpose which can only be translated into that which is sensible; it is our spiritual need, the gratification of our metaphysical sense."
    Robert Breuer about the work of Behrens published in “Werkkunst III” (1908)

     

  10. Tonhaus at the Deutschen Kunstausstellung in Cologne (1905, destroyed), Peter Behrens 

     

  11. genericarchitecture:

    XXXXXX02 or The Frozen Leviathan
    Matteo Mannini
    [Winner of the Gulf Architecture Biennal, Hormuz Bridge International Competition, 2014]
    The legend of the Hormuz Route have been puzzling generations of archaeologists and historians. Poems and chronicles portray it as the “dark” double of the Silk road, channeling the trade of a very specific commodity—workforce—from the deepest recesses of Africa and the central Asiatic uplands towards the strategic outpost of Hormuz. Tales and stories stress the violence through which far regions were plundered, and their young men and women made slaves and traded.
    Yet, stories from the Slave road were not only characterised by their dark tones. Rather, stories of heroism and resistance, escapes and piracy, desertion and rebellion fuelled the legend of the Hormuz Road. While the Silk Road represented the well-honed order of the Asian Empires, and their capillary territorial control through a network of trade infrastructure made of roads, caravanserais and gardens for water management, the Hormuz Road seemed to nurture manifold forms of life which disrupting such an order: escaped slaves, prostitutes, pirates, charlatans, healers, prophets, venture captains, profiteers and bandits.
    In the subsequent centuries the land connection between Persia and Arabia lost progressively its importance, and the Hormuz Strait gained prominence as the gate for maritime commerce in the Persian Gulf, especially since the discovery of oil reservoirs since the 1930. Today’s situation is well known: 20 percent of world’s oil transits from the Hormuz strait, and 35% of all oil traded by sea, making the area the world’s most strategically contested geopolitical hotspots. But the perspective of a progressive exhaustion of oil reservoirs in the area and an ever-present threat of escalation of the Middle-Eastern conflicts, threaten the already precarious economic stability of the area. The implementation of a North-South international traffic route would then constitute an occasion for a complete re-configuration of the geopolitical significance of the area, opening new markets and enhancing the resilience trade network across Asia and Africa.

     

  12. rudygodinez:

    Peter Behrens, Crematorium in Hagen-Delstern, Germany, (1906-1907)
    “At Düsseldorf, Behrens became very interested in the Theosophist geometry of Lauweriks and De Bazel. Behrens went all the way with this geometry in a number of his subsequent buildings, especially the Crematorium in Hagen. Walter Gropius implied that Behrens had gone too far, but that he had always liked the Crematorium.”
    - Stanford Adams, from “Considering Peter Behrens”
    Designing with the strict geometric principles of closed, cubic symmetry in mind, Behrens’ was able to make his relatively small structure seem monumental. His design is equally indebted to the strong lineaments of art nouveau as to the purely functional practicality for which He was later known.

    (via dhmsiftings)

     

  13. oz-react:

    Wenzel Jamnitzer. Perspectiva Corporum Regularium. 1568.

    (Source: magictransistor, via rosswolfe)

     

  14. Longimetrische Vorstellung eines runden Amphitheaters
    Perspectiva Pes Picturae (Part II, 1720), Johann Jacob Schübler 

     

  15. Reconstruction of the temple of king Solomon
    Ezechielem Explanationes (II, 1604), Juan Batista Villalpando