La Casa sul Mare di Sicilia is a theoretical project by Lina Bo Bardi designed in 1940 for the magazine Domus. She designed a Mediterranean house, integrated in the landscape, and built using the collective cultural imaginary.
André Ravéreau was a French architect, emigrated to Algeria, who knew how to inscribe his projects in the entirety of a culture, its climate, its location, its constructive knowledge.
The Austrian experimental scene of the 1960s marked the architecture of its time. It brought together a great generation of avant-garde Austrian architects and artists such as Walter Pichler, Hans Hollein and Raimund Abraham. This prestigious group notably influenced the (often theoretical) production of many international architects of the 60s and 70s. In successive exhibitions, architectural, urban and technological themes were questioned and models such as vertical city were explored.
With the Compact City project, Walter Pichler reinterprets architectural themes that were much discussed in the 1960s. He explored through modeling and drawing an alternative, mixing high-tech architecture and primitive influence.
Walter Pichler was an Austrian artist who produced a large number of drawings and sculptures, with the aim of exploring the relationship between object and space. Very influenced by the archaic civilizations he designed many projects of underground buildings articulated around nucleus, making these constructions real machines.
During the 1937 Paris Universal Exhibition, three adopted French architects proposed a highly technical building, the Palais de la Découverte (Palace of Discovery), far removed from the new theories of modern architecture.
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.
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.
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 is an exploration of spatial configurations of defined, rectilinear forms, in order to generate volumes and architectonic compositions.