Endless forms of beauty
76
notes
Heather Ross

Heather Ross

(Source: fiore-rosso)

187
notes

Antony Gormley

Antony Gormley

(Source: fiore-rosso)

568
notes
Miles Gertler, Islands. Three: Subtraction. 2013.

Miles Gertler, Islands. Three: Subtraction. 2013.

(Source: four-months, via drawingarchitecture)

277
notes
archimodels:

© kim swoo geun - pompidou center competition proposal - paris, france - 1971

archimodels:

© kim swoo geun - pompidou center competition proposal - paris, france - 1971

(Source: fabriciomora)

1076
notes
MAYUMI TERADA

MAYUMI TERADA

(Source: uvre, via conceptnoir)

2488
notes

infinity / zero

infinity / zero

(Source: beesandbombs, via thomortiz)

94
notes
germanpostwarmodern:

Maison d’arrêt (1965-69) in Fleury-Mérogis, France, by Guillaume Gillet

germanpostwarmodern:

Maison d’arrêt (1965-69) in Fleury-Mérogis, France, by Guillaume Gillet

(Source: citechaillot.fr, via michaelvel)

73
notes
anuglybeauty:

The photo by Martin Munkácsi that inspired Henri Cartier-Bresson

anuglybeauty:

The photo by Martin Munkácsi that inspired Henri Cartier-Bresson

170
notes

(via thomortiz)

748
notes
2
notes
Paolo Roversi

Paolo Roversi

62
notes

The Seagram Building, 375 Park Avenue, New York, 1958 Mies van der Rohe with Philip Johnson

The Seagram Building, 375 Park Avenue, New York, 1958
Mies van der Rohe with Philip Johnson

(Source: tgphipps, via acidadebranca)

58
notes
boscdanjou:

Pietrarubbia 01
Detail of The Pietrarubbia Group: il fondamento, l’uso, il rapporto (1975–76) by italian sculptor Arnaldo Pomodoro (b. 1926), in the collection of the Storm King Art Center, New York.
Pomodoro has described The Pietrarubbia Group as “a vision of an archaic settlement.” With its visual references to ancient burial traditions and hieroglyphics, the work commemorates the history and crumbling beauty of the nearly abandoned village for which it is named. The Pietrarubbia Group comprises a patio upon which stand two grand, slab-like bronze doors that visitors can move, providing access to the work’s interior. Expansive areas of the doors and the wall beyond them are incised with patterns that resemble ancient signs or writing, giving symbolic voice to the forgotten society that once occupied Pietrarubbia. The first line of Eugenio Montale’s poem Lo sai <You know) is inscribed on one of the doors:
Lo sai: debbo riperderti e non posso (“You know: I must lose you again, and I cannot”)

boscdanjou:

Pietrarubbia 01

Detail of The Pietrarubbia Group: il fondamento, l’uso, il rapporto (1975–76) by italian sculptor Arnaldo Pomodoro (b. 1926), in the collection of the Storm King Art Center, New York.

Pomodoro has described The Pietrarubbia Group as “a vision of an archaic settlement.” With its visual references to ancient burial traditions and hieroglyphics, the work commemorates the history and crumbling beauty of the nearly abandoned village for which it is named. The Pietrarubbia Group comprises a patio upon which stand two grand, slab-like bronze doors that visitors can move, providing access to the work’s interior. Expansive areas of the doors and the wall beyond them are incised with patterns that resemble ancient signs or writing, giving symbolic voice to the forgotten society that once occupied Pietrarubbia. The first line of Eugenio Montale’s poem Lo sai <You know) is inscribed on one of the doors:

Lo sai: debbo riperderti e non posso (“You know: I must lose you again, and I cannot”)

(via thomortiz)

26
notes
Toledo

Toledo

(via infiniteinterior)

442
notes
scandinaviancollectors:

The Farnsworth House by Ludwig Mies van der Rohe, designed for Dr Edith Farnsworth in 1946. Photograph by Peter Guthrie. / Flickr

scandinaviancollectors:

The Farnsworth House by Ludwig Mies van der Rohe, designed for Dr Edith Farnsworth in 1946. Photograph by Peter Guthrie. / Flickr

(via acidadebranca)

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