Amran Indra

Amran Indra REAL is Indonesia based group of architects, designers, builders and thinkers operating within the fi

The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945 and 1951. It is a one-room we...
08/12/2018

The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945 and 1951. It is a one-room weekend retreat in what then was a rural setting, located 55 miles (89 km) southwest of Chicago's downtown, on a 60-acre (24 ha) estate site adjoining the Fox River, south of the city of Plano, Illinois. The steel and glass house was commissioned by Edith Farnsworth, M.D., a prominent Chicago nephrologist, as a place where she could engage in her hobbies — playing the violin, translating poetry, and enjoying nature. Mies created a 1,500-square-foot (140 m2) structure that is widely recognized as an iconic masterpiece of International Style of architecture. The retreat was designated a National Historic Landmark in 2006, after being listed in the National Register of Historic Places in 2004.Currently, the house is owned and operated as a historic house museum by the historic preservation group, National Trust for Historic Preservation.

Milwaukee Art MuseumThe Milwaukee Art Museum, which overlooks Lake Michigan, was partially housed in a building designed...
02/12/2018

Milwaukee Art Museum
The Milwaukee Art Museum, which overlooks Lake Michigan, was partially housed in a building designed in 1957 by Eero Saarinen as a war memorial. Calatrava proposed a pavilion-like construction on axis with Wisconsin Avenue, the main street of central Milwaukee. Conceived as an independent entity, the pavilion contrasts to the existing ensemble in both geometry and materials, as a white steel-and-concrete form reminiscent of a ship. It is linked directly to Wisconsin Avenue via a cable-stay footbridge. Pedestrians may cross busy Lincoln Memorial Drive on the bridge and continue into the pavilion. Most visitors, though, will drive to the museum, entering either from a vaulted underground parking garage or from a drop-off in front of the new entrance.
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HOUSE IN MT FUJISatoshi Okada_____________________________________________________At the first glimpse, the house looks ...
01/12/2018

HOUSE IN MT FUJI
Satoshi Okada
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At the first glimpse, the house looks like a dark shadow in the forest. A diagonal wall divides the building into two realms. The wall dictates the ridge of a roof sloping in accordance with the pitch of the terrain: the building scale is therefore moulded onto the landscape.

The dimness of the entrance guides one’s glance upwards at the skylight and downwards at the bright living room, far beyond; the path leading to the latter features a subtle inclination along the diagonal wall.

The smaller volume on the northeast contains a hall connecting living to the bedrooms, stacked one on top of each other, and to the bathroom. If the living quarter is meant to be used from dawn till noon, this dim hall caters for the second half of the day: the afternoon rays pierce through a small square window beneath the ceiling and washes the opposite white wall with orange sunlight.

The outer wall is cladded with Japanese cedar stained black, the color of lava, for the volcanic memory of the site. The building stands in the landscape like a ground upheaval of the site, where the black lava has slept since the ancient times.
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HOUSE IN MT FUJISatoshi Okada________________________________________________________________________At the first glimps...
01/12/2018

HOUSE IN MT FUJI
Satoshi Okada
________________________________________________________________________
At the first glimpse, the house looks like a dark shadow in the forest. A diagonal wall divides the building into two realms. The wall dictates the ridge of a roof sloping in accordance with the pitch of the terrain: the building scale is therefore moulded onto the landscape.

The dimness of the entrance guides one’s glance upwards at the skylight and downwards at the bright living room, far beyond; the path leading to the latter features a subtle inclination along the diagonal wall.

The smaller volume on the northeast contains a hall connecting living to the bedrooms, stacked one on top of each other, and to the bathroom. If the living quarter is meant to be used from dawn till noon, this dim hall caters for the second half of the day: the afternoon rays pierce through a small square window beneath the ceiling and washes the opposite white wall with orange sunlight.

The outer wall is cladded with Japanese cedar stained black, the color of lava, for the volcanic memory of the site. The building stands in the landscape like a ground upheaval of the site, where the black lava has slept since the ancient times.
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