La Maison de la Publicité is a project designed by Oscar Nitzchke in 1936. The building, a kind of media machine, presents a façade with a fine metallic structure, covered with changing advertisements, long before the first examples of high-tech architecture.
Centraal Beheer Office Building, Dutch Structuralism
Herman Hertzberger is a Dutch architect born in 1932 in Amsterdam. As a disciple of Aldo van Eyck, he was one of the main influences behind the Dutch structuralism movement. The project considered to be one of the most inspiring examples of the movement is the Centraal Beheer office building in Apeldoorn. It was designed as a sixty cubes workspace forming a single articulated unit.
The Total Theater of Bauhaus
Among the many Bauhaus workshops, one of them stands out for being at first glance unsuitable for the school’s teaching. The Bauhaus theater workshop is not a craft workshop and does not aim to create utilitarian objects. However, it is a perfect example of the synthesis of the arts.
The Formal Generator of Structures, Stanley Tigerman
The Formal Generator of Structures is an exploration of spatial configurations of defined, rectilinear forms, in order to generate volumes and architectonic compositions.
Heliografías, the Architecture of Madness
León Ferrari was an Argentine conceptual artist whose practice was often ironic, absurd, and above all anti-institutional. During his period of exile in Brazil he began his Heliografías series. These drawings are composed of urban plans, highways, building typologies, furniture, and many identical inhabitants, in order to form an aggregation without much coherence.
Cemeteries: le champ de repos
Following his appointment as administrator of the department of the Seine in Paris in 1799, Jacques Cambry discovered the Parisian cemeteries in an appalling state. He then published a report augmented by an urban and architectural proposal. This came in a context favourable to the evolution of the Parisian cemeteries.
Bathing Pavilon: Dante’s Inferno
Tigerman’s bathing pavilion presents a separation of functions and uses, each with an altar space. The representation of the project is largely inspired by illustrations of the beginning of the Italian renaissance. It is also a tribute in the form of inspiration from Dante’s Inferno, from the epic poem Divina Commedia.