Design for Sleektower and Veranda Tower, Brisbane, Queensland, Australia, 1984 Print, coloured (101 x 73.5 cm) by Peter Cook

(Source: architectural-review)

Bongani Muchemwa | The Artist’s Creed

pen, pencil and ink on trace. 2012

(via drawingarchitecture)

Toni Schade | The Story Factory

(Source: drawingarchitecture)

bathing in brick | nasser alzayani

graphite

(Source: drawingarchitecture)

Cluster | City - Design - Innovation 

Looking at the works and drawings by L.A. based architect, professor and spatial orchestrator Bryan Cantley almost gives you the impression that you’re peeping through the keyhole of the architectural mise-en-scène of Jean Tardieu’s La serrure: right before our eyes gorgeous buildings unveil their hidden and perverted beauty in an extreme striptease, peeling off their skins like Robbie Williams in the Rock DJ music video and revealing their machinic nature.

(via beansreels)

ZAHA HADID

CONVERSION OF 59 EATON PLACE, SITE PLAN, 1981-82

(Source: betonbabe, via dotyj)

“Was I to believe him in earnest in his intention to penetrate to the centre of this massive globe? Had I been listening to the mad speculations of a lunatic, or to the scientific conclusions of a lofty genius? Where did truth stop? Where did error begin?”
- Jules Verne, Journey to the Center of the Earth

Drawing by Rick Gooding

From the post Subterranea | Excavating spaces from the depths of the mind

(Source: ethel-baraona)

Stuart Franks’ City in a Building (and other drawings) : socks-studio

(Source: stuartfranks.com, via ryanpanos)

Chicago Expo High rise/ Speculating on Cultures at the Edge of Destruction.

Mary Alejandra Alvarez 

(Source: drawingarchitecture)

Slow House - Diller + Scofidio

‘Our client came to us and said he wanted a house with a view’ - Diller + Scofidio

Diller + Scofidio first became known with their iconic project the ‘Slow House’, built in 1989 for a Japanese art investor as a weekend retreat on the Long Island waterfront. The view was the most important part of the building, prompting them to explore the notion of the picture window and the terminology of real-estate ads. ‘Why is architecture a technology that creates a view?’ Diller recounts. ‘Because it mediates it with a window frame.’ The couple argued that the picture window represents a more advanced technology than the video display. ‘because it strips away the hardware that you have on a TV monitor and leaves only the effect.’ 

(Source: catrinastewart, via thepapercity)

Vladimir Tyurin, Intellectual Market, 1987 (State Russian Museum)

Paper tigers - The utopian projects of Paper Architecture, collected in the traveling exhibition by Yuri AvvakumovRussian Utopia , is still a good example of the visionary power of architecture. An architecture report by Massimiliano Gioni, Yuri Avvakumov

(via fabriciomora)

SUBURBIA TOWER | Aaron Bermann

Suburbia Tower, New York, NY

Columbia University | Spring, 2012
ADV. STUDIO VI | Manaugh / Twilley

In between private rental periods, the detachable units of Mobile Suburbia are housed in a large vertical docking station in Tribeca - one of the most upscale residential neighborhoods in Manhattan. Upon arrival back to the docking station, the backyard unit is separated into two components: the lawn, and the deck, which are housed separately within the docking station. These two areas make up two of the three distinct zones within the project, that each have varying levels of privacy, commercialism, and community attachment.

(via fabriciomora)

Sild üle Rubico jõe | Mikhail Belov (1987)

(via drawingarchitecture)

Subterranea | Excavating spaces from the depths of the mind « dpr-barcelona

Subterranea by Rick Gooding. Courtesy of Woodbury University School of Architecture

In an era of digital representation, Gooding celebrates the precise and beautiful craft of manual drafting. He works without rulers or measuring devices and carefully constructs his drawings using the most basic architectural drafting tools: a straight edge, a 314 pencil, and an eraser and erasing shield. Gooding works exclusively in black and white. The simple palette occasionally produces Escher-esque qualities. Subversive flips of figure/ground and slips in optical logic confuse the readings of these rigorously constructed drawings.

(via ryanpanos)

Stuart Franks 

(Source: fabriciomora)