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Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
Omotesando is a tree-lined avenue in Tokyo. Zelkova trees, filtered light, a slope almost imperceptible as it descends toward Aoyama. Between 2001 and 2005 it becomes the densest construction site in contemporary commercial architecture: within less than five hundred metres, six maisons commission their flagships from designers who either hold the Pritzker Prize or are on their way to receiving it.
Renzo Piano opens the sequence in 2001 with the Maison Hermès in Ginza. The façade is a grid of eight thousand mouth-blown glass bricks, each 45x45 cm, produced to specification. The declared reference is chirimen, the crinkle-textured Japanese silk. There is no signage, no shopfront in the traditional sense: the threshold between interior and exterior is entrusted entirely to the material.
In 2002 Jun Aoki builds the Louis Vuitton flagship: the floors are stacked like layered trunks, an explicit reference to the brand's heritage, while the outer surface alternates perforated steel and printed glass that shifts texture at every level. The building reads differently depending on the time of day and the angle of approach.
In 2003 Herzog & de Meuron build for Prada a volume clad in a rhomboidal steel grid with alternating glass panels: flat, concave, convex. Every viewpoint returns a different image of the building. That same year SANAA signs the Dior: a double skin in white acrylic panels, stacked floors that read at night as independent layers. Two projects opposite in language, identical in rigour.
Toyo Ito closes the sequence with Tod's Omotesando Building (2004), where the silhouette of the avenue’s trees becomes the load-bearing structure in reinforced concrete, and the façade carries no decorative elements because it is itself the skeleton.
Six buildings, five studios, four years. A concentration without precedent in luxury retail, and one that has in all likelihood never been repeated.
.
.
.
1. @sanaa_jimusho x dior, 2003
2,3. @herzogdemeuron x @prada, 2003
4, 5. @rpbw_architects x @hermes, 2001
6, 7. Jun Aoki x @louisvuitton, 2002
8, 9. @toyo_ito_architects x @tods, 2004
What is the role of the architect today? During his talk at Politecnico di Milano, Ma Yansong, Guest Editor of Domus, shared a reflection on the role contemporary architects should reclaim today, and on the need to imagine spaces that reconnect people.
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Qual è il ruolo dell’architetto oggi? Durante il suo intervento al Politecnico di Milano, Ma Yansong, Guest Editor di Domus, ha condiviso una riflessione sul ruolo che l’architetto contemporaneo deve tornare a ricoprire nella società.
#architecture #architect
#adv AkzoNobel introduces the new Interpon D2525 Futura 2026–2029 architectural powder collection. These "super-durable" coatings are designed to protect buildings and urban furniture from the elements for decades while keeping colors vibrant. The real breakthrough lies in the process: the coatings are now made from bio-based raw materials and require less heat during application, significantly cutting energy consumption. It’s a major step where high-end design finally becomes the standard for sustainability.
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AkzoNobel lancia la nuova collezione di vernici per architettura Interpon D2525 Futura 2026–2029. Si tratta di rivestimenti "super-durevoli" pensati per proteggere edifici e arredi urbani dagli agenti atmosferici per decenni, mantenendo il colore inalterato. La vera novità è nel processo produttivo: ora le vernici sono realizzate con materie prime biologiche e richiedono meno calore per l’applicazione, riducendo drasticamente i consumi energetici. Un passo avanti dove l'alta estetica del design diventa finalmente lo standard della sostenibilità.
#architecture #sustainability #interpon
#adv AkzoNobel introduces the new Interpon D2525 Futura 2026–2029 architectural powder collection. These "super-durable" coatings are designed to protect buildings and urban furniture from the elements for decades while keeping colors vibrant. The real breakthrough lies in the process: the coatings are now made from bio-based raw materials and require less heat during application, significantly cutting energy consumption. It’s a major step where high-end design finally becomes the standard for sustainability.
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AkzoNobel lancia la nuova collezione di vernici per architettura Interpon D2525 Futura 2026–2029. Si tratta di rivestimenti "super-durevoli" pensati per proteggere edifici e arredi urbani dagli agenti atmosferici per decenni, mantenendo il colore inalterato. La vera novità è nel processo produttivo: ora le vernici sono realizzate con materie prime biologiche e richiedono meno calore per l’applicazione, riducendo drasticamente i consumi energetici. Un passo avanti dove l'alta estetica del design diventa finalmente lo standard della sostenibilità.
#architecture #sustainability #interpon
#adv AkzoNobel introduces the new Interpon D2525 Futura 2026–2029 architectural powder collection. These "super-durable" coatings are designed to protect buildings and urban furniture from the elements for decades while keeping colors vibrant. The real breakthrough lies in the process: the coatings are now made from bio-based raw materials and require less heat during application, significantly cutting energy consumption. It’s a major step where high-end design finally becomes the standard for sustainability.
.
.
.
AkzoNobel lancia la nuova collezione di vernici per architettura Interpon D2525 Futura 2026–2029. Si tratta di rivestimenti "super-durevoli" pensati per proteggere edifici e arredi urbani dagli agenti atmosferici per decenni, mantenendo il colore inalterato. La vera novità è nel processo produttivo: ora le vernici sono realizzate con materie prime biologiche e richiedono meno calore per l’applicazione, riducendo drasticamente i consumi energetici. Un passo avanti dove l'alta estetica del design diventa finalmente lo standard della sostenibilità.
#architecture #sustainability #interpon
#adv AkzoNobel introduces the new Interpon D2525 Futura 2026–2029 architectural powder collection. These "super-durable" coatings are designed to protect buildings and urban furniture from the elements for decades while keeping colors vibrant. The real breakthrough lies in the process: the coatings are now made from bio-based raw materials and require less heat during application, significantly cutting energy consumption. It’s a major step where high-end design finally becomes the standard for sustainability.
.
.
.
AkzoNobel lancia la nuova collezione di vernici per architettura Interpon D2525 Futura 2026–2029. Si tratta di rivestimenti "super-durevoli" pensati per proteggere edifici e arredi urbani dagli agenti atmosferici per decenni, mantenendo il colore inalterato. La vera novità è nel processo produttivo: ora le vernici sono realizzate con materie prime biologiche e richiedono meno calore per l’applicazione, riducendo drasticamente i consumi energetici. Un passo avanti dove l'alta estetica del design diventa finalmente lo standard della sostenibilità.
#architecture #sustainability #interpon
#adv AkzoNobel introduces the new Interpon D2525 Futura 2026–2029 architectural powder collection. These "super-durable" coatings are designed to protect buildings and urban furniture from the elements for decades while keeping colors vibrant. The real breakthrough lies in the process: the coatings are now made from bio-based raw materials and require less heat during application, significantly cutting energy consumption. It’s a major step where high-end design finally becomes the standard for sustainability.
.
.
.
AkzoNobel lancia la nuova collezione di vernici per architettura Interpon D2525 Futura 2026–2029. Si tratta di rivestimenti "super-durevoli" pensati per proteggere edifici e arredi urbani dagli agenti atmosferici per decenni, mantenendo il colore inalterato. La vera novità è nel processo produttivo: ora le vernici sono realizzate con materie prime biologiche e richiedono meno calore per l’applicazione, riducendo drasticamente i consumi energetici. Un passo avanti dove l'alta estetica del design diventa finalmente lo standard della sostenibilità.
#architecture #sustainability #interpon
Top Brutalism in USA 🇺🇸
Brutalism in the United States took many forms: monumental civic buildings, sculptural university structures, cultural institutions, corporate headquarters, and underground transit spaces shaped by raw concrete, expressive mass, and structural clarity.
This selection brings together some of the country’s most recognizable brutalist works, where architecture becomes heavy, direct, and unapologetically present. These buildings show how Brutalism was used not only as an aesthetic language, but also as a way to express public power, institutional identity, and experimental design.
Featuring:
Geisel Library, UC San Diego
Christian Science Center
Hotel Marcel, formerly Pirelli Tire Building
Boston City Hall
The Breuer Building, formerly The Whitney
Rudolph Hall, Yale Art & Architecture Building
J. Edgar Hoover Building, FBI Headquarters
Washington D.C. Metro Stations
📍 United States
📸 Photo credits: Phillip Colla, @maorightnow, Anton Grassl, Max Touhey, joevare
⚠️ Disclaimer: All photographers are mentioned. If I missed your work, DM me and I will add full credit to the caption.
#architecture #brutalism #usa #america
#adv Martex Lab signs OTTO, a collection that translates the concept of balance into a fluid furniture system without sharp edges, where soft curves and rounded borders eliminate spatial rigidity to foster human connections. The project develops through a flexible modularity, capable of spanning from task areas to executive offices via elements conceived as a sustainable ecosystem, designed to last over time and adapt dynamically to the new rhythms of contemporary work.
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Martex Lab firma OTTO, una collezione che traduce il concetto di equilibrio in un sistema d'arredo fluido e privo di spigoli, dove curve morbide e bordi arrotondati eliminano la rigidità spaziale favorendo le connessioni umane. Il progetto si sviluppa su una modularità flessibile, capace di spaziare dalle aree operative a quelle direzionali attraverso elementi pensati come un ecosistema sostenibile, progettato per durare nel tempo e adattarsi dinamicamente ai nuovi ritmi del lavoro contemporaneo.
@martex_spa
#adv Martex Lab signs OTTO, a collection that translates the concept of balance into a fluid furniture system without sharp edges, where soft curves and rounded borders eliminate spatial rigidity to foster human connections. The project develops through a flexible modularity, capable of spanning from task areas to executive offices via elements conceived as a sustainable ecosystem, designed to last over time and adapt dynamically to the new rhythms of contemporary work.
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Martex Lab firma OTTO, una collezione che traduce il concetto di equilibrio in un sistema d'arredo fluido e privo di spigoli, dove curve morbide e bordi arrotondati eliminano la rigidità spaziale favorendo le connessioni umane. Il progetto si sviluppa su una modularità flessibile, capace di spaziare dalle aree operative a quelle direzionali attraverso elementi pensati come un ecosistema sostenibile, progettato per durare nel tempo e adattarsi dinamicamente ai nuovi ritmi del lavoro contemporaneo.
@martex_spa
#adv Martex Lab signs OTTO, a collection that translates the concept of balance into a fluid furniture system without sharp edges, where soft curves and rounded borders eliminate spatial rigidity to foster human connections. The project develops through a flexible modularity, capable of spanning from task areas to executive offices via elements conceived as a sustainable ecosystem, designed to last over time and adapt dynamically to the new rhythms of contemporary work.
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.
Martex Lab firma OTTO, una collezione che traduce il concetto di equilibrio in un sistema d'arredo fluido e privo di spigoli, dove curve morbide e bordi arrotondati eliminano la rigidità spaziale favorendo le connessioni umane. Il progetto si sviluppa su una modularità flessibile, capace di spaziare dalle aree operative a quelle direzionali attraverso elementi pensati come un ecosistema sostenibile, progettato per durare nel tempo e adattarsi dinamicamente ai nuovi ritmi del lavoro contemporaneo.
@martex_spa
#adv Martex Lab signs OTTO, a collection that translates the concept of balance into a fluid furniture system without sharp edges, where soft curves and rounded borders eliminate spatial rigidity to foster human connections. The project develops through a flexible modularity, capable of spanning from task areas to executive offices via elements conceived as a sustainable ecosystem, designed to last over time and adapt dynamically to the new rhythms of contemporary work.
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.
.
Martex Lab firma OTTO, una collezione che traduce il concetto di equilibrio in un sistema d'arredo fluido e privo di spigoli, dove curve morbide e bordi arrotondati eliminano la rigidità spaziale favorendo le connessioni umane. Il progetto si sviluppa su una modularità flessibile, capace di spaziare dalle aree operative a quelle direzionali attraverso elementi pensati come un ecosistema sostenibile, progettato per durare nel tempo e adattarsi dinamicamente ai nuovi ritmi del lavoro contemporaneo.
@martex_spa
#adv Martex Lab signs OTTO, a collection that translates the concept of balance into a fluid furniture system without sharp edges, where soft curves and rounded borders eliminate spatial rigidity to foster human connections. The project develops through a flexible modularity, capable of spanning from task areas to executive offices via elements conceived as a sustainable ecosystem, designed to last over time and adapt dynamically to the new rhythms of contemporary work.
.
.
.
Martex Lab firma OTTO, una collezione che traduce il concetto di equilibrio in un sistema d'arredo fluido e privo di spigoli, dove curve morbide e bordi arrotondati eliminano la rigidità spaziale favorendo le connessioni umane. Il progetto si sviluppa su una modularità flessibile, capace di spaziare dalle aree operative a quelle direzionali attraverso elementi pensati come un ecosistema sostenibile, progettato per durare nel tempo e adattarsi dinamicamente ai nuovi ritmi del lavoro contemporaneo.
@martex_spa
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
.
.
.
@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
The design of this house in Australia is unambiguous: the extension designed by Office MI—JI to expand the existing building clearly distinguishes the two construction phases by employing a different architectural language. Supported by the original building, the box-shaped structure is mounted on a steel frame and arranged around a patio. It branches out into spaces housing the family's bedrooms and bathrooms, which have been added since the house was purchased.
The design increases the space by developing upwards without exceeding the ground floor's footprint and clearly signals its presence. The placement of the openings and the alternation between clear and patterned glass reflect the relationship between light and privacy.
Read more on domusweb.it
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@office_mi.ji
Photos @benhoskingphotographer
#architecture #australia
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
Brera is one of the symbolic landmarks of Milanese culture, where art, architecture, and history have coexisted for centuries. From the Courtyard of Honor of the Brera Academy of Fine Arts to the Pinacoteca di Brera, expanded through the Grande Brera project, the complex also extends to the spaces of Palazzo Citterio.
This architectural and cultural ensemble, which reflects the evolution of Milan, was also featured in the film The Devil Wears Prada 2, further highlighting its status and its active role in representing the city’s identity.
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Brera rappresenta uno dei luoghi simbolo della cultura milanese, in cui arte, architettura e storia convivono da secoli. Dal Cortile d’Onore dell’Accademia di Belle Arti di Brera fino alla Pinacoteca di Brera, ampliata grazie al progetto della Grande Brera, il complesso si estende anche agli spazi di Palazzo Citterio. Questo insieme architettonico e culturale, che racconta l’evoluzione di Milano, è stato anche protagonista del film The Devil Wears Prada 2, a conferma del suo valore iconico e del ruolo attivo nel rappresentare l’identità della città.
#brera #devilwearsprada2 #milan #cinema
We asked Tom Dixon what he thinks about AI and how it’s changing the way we design, learn and adapt at a speed we’ve never experienced before.
Read the full interview on domusweb.it
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We asked Tom Dixon what he thinks about AI and how it is changing the way we design, learn, and adapt at an unprecedented speed.
Discover the full interview on domusweb.it
@tomdixonstudio
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
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Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
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Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
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.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
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.
Photos @isseymiyakeofficial
#newyork #store #interior
Opened in 1950 and completed with its iconic curved façade designed by the team led by Eugenio Montuori, Roma Termini remains one of Italy’s main transportation hubs and a landmark of postwar architecture. Originally developed from a project by Angiolo Mazzoni, the station reflects different phases of 20th-century Italian design.
Today, Termini has once again become part of the urban conversation with the new redevelopment project for the square in front of the station.
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Inaugurata nel 1950 su progetto di Angiolo Mazzoni e completata con il celebre fronte curvilineo firmato dal gruppo guidato da Eugenio Montuori, Roma Termini è uno dei principali nodi infrastrutturali italiani e un esempio centrale dell’architettura del dopoguerra. Oggi la stazione è tornata al centro del dibattito urbano con il nuovo progetto di riqualificazione della piazza.
#romatermini #architecture
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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.
@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
Story Save - Bestes kostenloses Tool zum Speichern von Stories, Reels, Fotos, Videos, Highlights, IGTV auf Ihrem Gerät.
Story-save.com ist ein benutzerfreundliches Online-Tool, mit dem Nutzer verschiedene Inhalte wie Stories, Fotos, Videos und IGTV-Materialien direkt von Instagram herunterladen und speichern können. Mit Story-Save können Sie Inhalte von Instagram ganz einfach herunterladen und jederzeit, auch ohne Internetverbindung, ansehen. Dieses Tool ist perfekt, um interessante Instagram-Momente zu speichern. Nutzen Sie Story-Save, um Ihre Lieblingsmomente immer griffbereit zu haben!
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