Rooms are frames of mind and apartment ads become today's poetry, which is my favourite reading.
Yoko Ono, in: The Other Room
What you see depends on where you stand.
C.S. Lewis
Diplom
Alessandro Bosshard, ETH Zürich
Diplom
Alessandro Bosshard, ETH Zürich
Diplom
Alessandro Bosshard, ETH Zürich
Diplom
Pontus Falk, ETH Zürich, Winterthur, 2011
Diplom
Pontus Falk, ETH Zürich, Winterthur, 2011
Nigel Peake
Umbau Wohnturm Casti
Peter Zumthor, Lumbrein, 1970
Cité de Refuge
OFFICE Kersten Geers David Van Severen, 2007
Cité de Refuge
OFFICE Kersten Geers David Van Severen, 2007
Cité de Refuge
OFFICE Kersten Geers David Van Severen, 2007
Diamond House B, Projection
John Hejduk, 1963-1967
Konrad Wachsmann, 1954
Swiss Pavilion for the 2000 Expo in Hanover, Structural Model by Garrett Knoll
Peter Zumthor, Hannover, 2000
Hoge Woerd
51N4E, Utrecht, Neatherlands, 2010
Chamber of Commerce, Office building for VOKA
OFFICE Kersten Geers David Van Severen, West-Flanders
Housing Development
Caruso St John Architects, Bordeaux, 2005
Generic and the Common
Lola Lozano, Diploma, AA School of Architecture, 2011
Generic and the Common
Lola Lozano, Diploma, AA School of Architecture, 2011
Generic and the Common
Lola Lozano, Diploma, AA School of Architecture, 2011
Generic and the Common
Lola Lozano, Diploma, AA School of Architecture, 2011
Generic and the Common
Lola Lozano, Diploma, AA School of Architecture, 2011
House in a basket
Junya Ishigami
Bridge
OFFICE Kersten Geers David Van Severen
Radu Macovei, AA – Architectural Association, 2012
Daegu Library (with École), Classrooms
AAKAA, France
Martin Price, 1988
Ludwig Museum
Oswald Mathias Ungers, Cologne, 1975
AXOl
Carlotta Conte, AA – Architectural Association, 2013
Elisia Brask, AA – Architectural Association, 2013
The leading edge in evidence presentation is in science; the leading edge in beauty is in high art.
Edward Tufte
Room in Brooklyn
Edward Hopper, 1932
Franco Purini, 1985
Moriyama House Model
Sanaa, Ohta-ku, Tokio, Japan, 2002
Aber alle diese Feinheiten, bestimmt, die Dauer des Bauwerks zu sichern, waren eine Kleinigkeit im Verhältnis zu denen, die er gebrauchte, wenn es sich darum handelte, die Erregungen und Schwingungen vorzubereiten, die in der Seele des künftigen Betrachters seines Werkes entstehen sollten.
Paul Valéry
Hanging Gardens, 1a. Seven Series
Miles Gertler, 2013
Color sketch for Eames House storage units
Ray Eames, 1940s
Ray and Charles Working on a Conceptual Model for the Exhibition Mathematica
Los Angeles, 1960