Haunt
Daniel Souza de Carvalho.
Estudante de Arquitetura e Urbanismo.
De São Paulo - Brasil
Haunt
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workman:

therhumboogie:
By Antony Gormley, this immersive installation used dense fog to disorientate and engage the viewers senses, often causing groups of people entering the space to loose one another.
‘You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work.’
workman:

therhumboogie:
By Antony Gormley, this immersive installation used dense fog to disorientate and engage the viewers senses, often causing groups of people entering the space to loose one another.
‘You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work.’
workman:

therhumboogie:
By Antony Gormley, this immersive installation used dense fog to disorientate and engage the viewers senses, often causing groups of people entering the space to loose one another.
‘You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work.’
workman:

therhumboogie:
By Antony Gormley, this immersive installation used dense fog to disorientate and engage the viewers senses, often causing groups of people entering the space to loose one another.
‘You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work.’
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infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
infiniteinterior:

Soviet spacecraft interiors
(Note especially the landscape painting on the wall in the first design - to remind the cosmonauts of Earth)
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oldsaopaulo:

Se Square in the 60’s - At left the Mendes Caldeira building, demolished in 70’s
Sao Paulo - Brazil
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Beco do pinto
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ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
ryanpanos:

The Shed | Jonas Gunerius Larsen | The Draftery
The project has a static starting point with the grid as an overarching principle that consumes the site, the infrastructure and organizing the totality. But then a dynamic process starts: Sheds and small cabins emerge within the system, representing plausible inhabitants, scenarios emerge and stories develop. Evolvement on the microlevel is explored in the plots, they become alive, some are abandoned and some survive. The stories come to life, public places occur, buildings transfom. The project grows out of this back and forth process, where the tiny dynamic parts challenges and even dissolves the boundaries of the assumed static grid. This pendulum is the energy in the evolution in the project, the unpredictable mutuality of part and whole.
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septagonstudios:

Three Of The Possessed
MARCH 1927
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Hehehe
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bauzeitgeist:

Robertson Hall/Woodrow Wilson School of Public and International Affairs, Princeton University. Designed by Minoru Yamasaki, 1966. 
Photo ©2007 Bauzeitgeist.
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hellofromtumblr:

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