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Showing posts with label Architecture. Show all posts
Showing posts with label Architecture. Show all posts

Everyday Richness

This extraordinary “252” on the otherwise completely ordinary building caught my eye. I figured that while I had my camera out, I’d snap my way down the rest of the block.



















And this is just one side of the street.

Curtains in and out

I love the concept, but how do you keep the drapes clean ? A very unusual and striking construction from the Austrian group Hertl Architeckten, a two-story building that was once a restaurant, composed of two bars, bounded by a cross wing.....
 They are separated now. The challenge was to renovate one of the buildings and to expand it to two flats. One of these bars should be thermal renovated and expanded into two flats. With few convertions of the existing walls it works to organize a new space use. The first floor and the cellar can be reached by an outdoor stairway made of concrete.

The existing roof was removed. A light grey curtain covers the solitaire, the abstract form is disguised by a soft texture. The element, also used for shadowing, can be moved apart the windows. A decorative element, normally used indoor, is building an irritating and at the same time fascinating facade.


Aichinger House, Kronstorf, Austria







To view more, click on Kurt Hoerbst


Bauhaus: The Book


“Excuse me,” says the young designer to the clerk in my imaginary, vaguely Monty Pythonesque skit. “I’m looking for a book called Bauhaus.” The clerk replies "walk this way," and proceeds to show her an entire section where every book is titled “Bauhaus.”

The legendary design school is synonymous with creativity and innovativeness, and over the years there have been many lavish and scholarly books published about its history and influence. But where was the creativity when it came to titling these many tomes? True, there is the occasional under-line, over-line, or date range in tiny print. But basically, an enormous number of books fall into perfect lockstep and boldly feature the single–word title of “Bauhaus.”

On the other hand, there is something to be said for clarity in messaging. After all, shouldn’t form follow function?

Really, it's just an excuse to post a bunch of them. The selection here is by no means comprehensive, and many of these are alternate or later printings of earlier editions.

50 Jahre Bauhaus, 1968 catalog (Herbert Bayer cover)
for the exhibition in Stuttgart. The gray cover at the top
of this post, is a 1975 abridged version of the catalog.




Bauhaus, by Fiedler and Feierabend was originally
published in 1999 with the red cover. The cover
of the 2008 edition is white.



Bauhaus by Xavier Girard, Assouline, 2003.




The original edition, top, and the second printing of the
book compiled for MoMA's 1938 Bauhaus exhibition. It was
edited by Herbert Bayer, Walter Gropius and Ise Gropius.




Two books by Magdalena Droste from Taschen.(top, bottom)




Siebenbrodt & Schobe, Parkstone, 2009.



Gerd Fleischmann’s 1995 book incorporates Herbert Bayer’s
design for a 1928 cover of the Bauhaus Journal.



Hans Wingler’s Bauhaus “bible,” by MIT Press, 1969.
Hard cover edition
with slipcase, top, and the
soft cover
version.



Even the catalog for the recent MoMA show included
“Workshops for Modernity” in the tiniest type possible.


A really great resource for Bauhaus books is the site Modernism 101. There is a blog associated with the site called Bauhaus Cowboy. It seems to have ended in the summer of 2009, but there are still many interesting posts there to peruse.

Replay revisited

The historic Paris Replay flagship store in rue Etienne Marcel, an early 19th century former ceramics shop has reopened its door after a complete makeover. The interiors have been renovated throughout, and blend perfectly with the brand-new concept devised and designed by Replay.
The aim of this concept is to recreate an environment that offers the visitor a pleasant break from the city, a relaxing experience for both body and mind. The premises of the Paris store unfold through a sequence of large halls with frescoes ceilings. All over the ground floor are high columns of plants and thin films of water descending from the ceiling. The original floral inlay work seems to sprout from the plants that climb up the walls, which blends into the perspective of the glass awning at the entrance, a reminiscent of some of the Paris metro entrances designed by Guimard.



The glass awning entrance














Courtesy Replay