I like it
I like it
+
exhibition-ism:

Illustrations by Gelrev Ongbico.
exhibition-ism:

Illustrations by Gelrev Ongbico.
exhibition-ism:

Illustrations by Gelrev Ongbico.
+
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
archatlas:

Long Museum (West Bund) Atelier Deshaus
"The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space."
+
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
cjwho:

House in Balsthal by Pascal Flammer | via
Pascal Flammer created this timber house in Balsthal. There are two principal floors; one set 75 cm below the earth, one 1.50 m above. The ground floor consists of one single family room with a noticeably low horizontal ceiling. In this space there is a physical connection with the nature outside the continuous windows.
The space above is the inverse. This floor is divided into four equal rooms with 6m high ceilings. The height defines the space. Large windows open to composed views of the wheat field. Whereas the ground floor is about connecting with the visceral nature of the context, the floor above is about observing nature – a more distant and cerebral activity.
CJWHO:  facebook  |  instagram | twitter  |  pinterest  |  subscribe
+
nnmprv:

(by o.ma_)
You can find me on: Instagram | Pinterest | Behance
+
subtilitas:

Cecilia Puga - Casa Bahia Azul, Bahia Azul 2002 Via, photos (C) Cristobal Palma. 
subtilitas:

Cecilia Puga - Casa Bahia Azul, Bahia Azul 2002 Via, photos (C) Cristobal Palma. 
subtilitas:

Cecilia Puga - Casa Bahia Azul, Bahia Azul 2002 Via, photos (C) Cristobal Palma. 
subtilitas:

Cecilia Puga - Casa Bahia Azul, Bahia Azul 2002 Via, photos (C) Cristobal Palma. 
subtilitas:

Cecilia Puga - Casa Bahia Azul, Bahia Azul 2002 Via, photos (C) Cristobal Palma. 
+
+
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
ryanpanos:

Buildings Made of Sky | Peter Wegner | Via
Photographer Peter Wegner points and shoots his lens at nothingness, hoping to capture the invisible worlds that elude us in day-to-day living. For Buildings Made of Sky, the artist captures the sky as seen through urban landscapes, framing the empty space in such a way that reveals skyscraper forms running perpendicular to the cityscape below. Shooting from dusk until dawn, Wegner catalogs the small changes in atmosphere that color his imagined buildings shades of pale pink and deep purples.
+
uglybelgianhouses:

Dear Belgium, I’m running out of pyramid jokes.
+
enochliew:

IULM Knowledge Transfer Centre by 5+1AA
A mimetic building in respect to the surrounding area. Bricks, exposed concrete, glass, plaster.
enochliew:

IULM Knowledge Transfer Centre by 5+1AA
A mimetic building in respect to the surrounding area. Bricks, exposed concrete, glass, plaster.
+
subtilitas:

Lacroix Chessex - House in Les Jeurs, 2013. Photos (C) Joel Tettamanti.
subtilitas:

Lacroix Chessex - House in Les Jeurs, 2013. Photos (C) Joel Tettamanti.
subtilitas:

Lacroix Chessex - House in Les Jeurs, 2013. Photos (C) Joel Tettamanti.
subtilitas:

Lacroix Chessex - House in Les Jeurs, 2013. Photos (C) Joel Tettamanti.
subtilitas:

Lacroix Chessex - House in Les Jeurs, 2013. Photos (C) Joel Tettamanti.