research on

DOME/CIRCLE/HOME/SANCTUARY/individuality-light-timing

rudygodinez:

H. Lowe, Spatial Structure, (1928)

The above is a student project project from the Bauhaus Sculpture Workshop of Joost Schmidt.

(Besides his heading the Bauhaus advertising department and printing workshop, Schmidt ran the sculpture workshop from 1928-1930.)

(via urbsantiquafuit)

deseopolis:

touof:

Louise Bourgeois - The Curved House, 1990

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itsnotmetalking:

I can’t believe it was still there. 
Now it’s mine.
muhahahahaha

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amazingstoriesmagazine:

Here’s an intriguing article on new wave science fiction of the 60s and its impact:

Science fiction finally gave up childish things in the 1960s. But like many adolescents, it only grew up because the ugly real world intruded on its immature fantasies.

Let’s put a measuring tape to it. In the summer of 1957, just a few weeks before the launch of the first Sputnik space satellite, some 23 science fiction magazines were operating in the United States. By the end of 1960, only six remained. During a period of just 28 months, fifteen sci-fi magazines disappeared from the magazine racks.

This truly was an amazing story, astounding even, but did not get reported in the pages of Amazing Stories and Astounding Stories—two of the survivors.”

Read the rest over at Conceptual Fiction.

The above image: Norman Adams’ 1971 cover for little-known new wave author David R Bunch’s Moderan.

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oncealoyallover:

Northern Lights (Copper-plate engraving), c. 1760

(via tiny-witches)

(Source: subject-of)

rudygodinez:

Buckminster Fuller, Wichita House, (1944-1946)

Like his earlier project, the “Dymaxion House”, the Wichita House was intended to be a complete “dwelling machine,” and Fuller pursued this notion in lectures and writing, suggesting that industrial design and architecture had never been more compatible. In the end, the Beech Company (the company that was funding Fuller’s research into the Wichita project) decided not to produce the House, convinced that, despite its reception and improvements on his earlier Dymaxion House, the public was still not prepared to inhabit a machinelike object. Fuller and his team had to abandon their project and leave the Wichita plant where they had begun preliminary production in 1947. Like the Dymaxion, the Wichita House would enter the annals of replicable utopian homes that would never see the light of day.

Fuller called himself “neither an optimist or a pessimist, [but] a realist!” Initiative and Integrity were not empty words for Fuller, who presented us with choices for the future. “We have the option to make it if greed and ignorance are set aside, but it will be precarious, and we now have enough knowledge and world resources to provide for 100% of humanity. It will either be Utopia or Oblivion.” 

 

design-voyager:

image

image

Buckminster Fuller’s 4D Dymaxion Home 1927-31. Illustration by Williamson for Modern Mecanix, 1932
One of many examples how Fuller’s thinking was much ahead of its time is the methane tank in the basement to store gas generated by household waste. 

tenivision:

From “Modern Architecture since 1900” by William J. R. Curtis

magictransistor:

R. Buckminster Fuller’s Sketch for Dymaxion House 

framafo:

1408 on Flickr.

partizany:

Masaki Nakayama

(via weissesrauschen)

redhousecanada:

sperrault:

Jean Nouvel | DOME - Louvre Abu Dhabi Museum.

(via mimilin)

Fixed. theme by Andrew McCarthy