Zamora Offices by Alberto Campo Baeza.

userdeck:

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Simple and clean glasshouse by Alberto Campo Baeza in Zamora, Spain. Via: We-are.

Middle Park House designed by Kerry Phelan Design Office and Chamberlain Javens Architects, 2012 Middle Park House designed by Kerry Phelan Design Office and Chamberlain Javens Architects, 2012

Middle Park House designed by Kerry Phelan Design Office and Chamberlain Javens Architects, 2012

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

sunrec:

“Corpus Christi” by Fabrice Fouillet

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhn and Auguste Perret, most of these churches were built in the 1950-60s. Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy. I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred. This work also insists that many unique interiors could be made for the same type of institution.

simplypi:

one house > japanese minimalistic paradise

scinerd:

Seed Cathedral
(Image: Daniele Mattioli)
This is a seed cathedral: a 20-metre-tall, £25 million shrine to botany and international diplomacy. It is the British government’s gift to the Shanghai World Expo, which opened in China.
When viewed from the outside, the building – designed by UK architect Thomas Heatherwick – bristles with 60,600 8-metre-long acrylic spikes, which sway when the wind blows. Inside, the tips of the rods display 6000 varieties of seed. During the day, sunlight passes through the tubes, illuminating the seeds inside. “Visitors pass through this tranquil, contemplative space, surrounded by the tens of thousands of points of light illuminating the seeds,” the team behind the pavilion say.
The seeds come from the Kunming Institute of Botany in China – a partner of the Millennium Seed Bank project at Kew Gardens, London.

scinerd:

Seed Cathedral

(Image: Daniele Mattioli)

This is a seed cathedral: a 20-metre-tall, £25 million shrine to botany and international diplomacy. It is the British government’s gift to the Shanghai World Expo, which opened in China.

When viewed from the outside, the building – designed by UK architect Thomas Heatherwick – bristles with 60,600 8-metre-long acrylic spikes, which sway when the wind blows. Inside, the tips of the rods display 6000 varieties of seed. During the day, sunlight passes through the tubes, illuminating the seeds inside. “Visitors pass through this tranquil, contemplative space, surrounded by the tens of thousands of points of light illuminating the seeds,” the team behind the pavilion say.

The seeds come from the Kunming Institute of Botany in China – a partner of the Millennium Seed Bank project at Kew Gardens, London.

(via shinyslingback)

unesco:

Ceiling of the mosque in Taj Mahal, India (flickr: ze eduardo)

“The Taj Mahal, an immense mausoleum of white marble, built in Agra between 1631 and 1648 by order of the Mughal Emperor Shah Jahan, is the jewel of Muslim art in India and one of the universally admired masterpieces of the world’s heritage. It no doubt partially owes its renown to the moving circumstances of its construction. Shah Jahan, in order to perpetuate the memory of his favourite wife, Mumtaz Mahal, who died in 1631, had this funerary mosque built. The monument, begun in 1632, was finished in 1648; unverified but nonetheless, tenacious, legends attribute its construction to an international team of several thousands of masons, marble workers, mosaicists and decorators working under the orders of the architect of the emperor, Ustad Ahmad Lahori.” — unesco.org