Atmosphäre
Das eigene Haus
Karl Schwanzer, Wien, 1962, Foto: Margherita Spiluttini (1995)
Peter Zumthor in his studio
Foto: Hélène Binet
Villa Katusra, Steinweg
Kyoto, Japan, 17. Jhdt., Foto: Ishimoto Yasuhiro (1954)
Performance still from Moving Target
Diller&Scofidio, Palais de Beaux-Arts, Brussels, 1996
Brooklyn Bridge
Foto: Hiroshi Sugimoto (2001)
Every experience is unrepeatable.
Italo Calvino
Ocean Swimming Pool
St. Malo, France
Tlalpan Chapel
Foto: Hiroshi Sugimoto (2002)
Balletzentrum Hamburg
Foto: Candila Höfer (2001)
Villa Katsura
Kyoto, Japan, 17. Jhdt., Ishimoto Yasuhiro (1954)
D.E. Shaw and Company Office
Hiroshi Sugimoto (1997)
Foto: Roloff Beny
Foto: Robert Adams
Villa Katsura, Steinweg
Kyoto, Japan, 17. Jhdt., 1954, Foto: Ishimoto Yasuhiro (1954)
A real architectural experience is not simply a series of retinal images; a building is encountered – it is approached, confronted, encountered, related to one’s body, moved about, utilised as a condition for other things, (…)
Steven Holl
Museum of Modern Art
Affonso Eduardo Reidy, Rio de Janeiro, 1953
Glass Palace
Frits Peutz Schunck, Heerlen, Niederlande, 1935
I believe in an ›emotional architecture‹. It is very important for humankind that architecture should move by its beauty; if there are many equally valid technical solutions to a problem, the one which offers the user a message of beauty and emotion, that one is architecture.
Luis Barragan
U-House
Toyo Ito, Tokyo, 1976
U-House
Toyo Ito, Tokyo, 1976
U-House
Toyo Ito, Tokyo, 1976
U-House
Toyo Ito, Tokyo, 1976
Artigas House
João Batista Vilanova Artigas, São Paulo, Brazil, 1949, Foto: Pedro Kok
DHFK Leipzig
Foto: Candila Höfer (1991)
Misthaufen
Bernhard Fuchs, Uttendorft, 2009
Church of San Zaccaria, Venice
Foto: Thomas Struth (1995)
Hof
Bernhard Fuchs, Kepling, 2005
Church of the Light
Hiroshi Sugimoto, 1997
South Bay Drive-In
Hiroshi Sugimoto, 1993
Woodland Chapel
Hiroshi Sugimoto (2001)
Aber alle diese Feinheiten, bestimmt, die Dauer des Bauwerks zu sichern, waren eine Kleinigkeit im Verhältnis zu denen, die er gebrauchte, wenn es sich darum handelte, die Erregungen und Schwingungen vorzubereiten, die in der Seele des künftigen Betrachters seines Werkes entstehen sollten.
Paul Valéry
Kleinhans Music Hall
Eliel and Eero Saarinen, Buffalo, New York, 1940, Foto: Robert Damora (1941)