collection
collection
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drawingarchitecture:

J. Powers Bowman, Collage, pen-and-ink.
drawingarchitecture:

J. Powers Bowman, Collage, pen-and-ink.
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chaambler:

ROY LICHTENSTEIN Seascape (I), from New York Ten, 1964
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archarchiva:

Boundaries - www.adsimpson.com #architecture #architecturalmodel #architecturalmodels #architecturaldrawings #architecturaldrawing #inspirations #architect #architorture
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ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
ryanpanos:

The Machines Have Become Integral … | Katie Shima | The Draftery
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
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obra-s:

Sverre Fehn - Venecia
Photo by Julian Pierre
obra-s:

Sverre Fehn - Venecia
Photo by Julian Pierre
obra-s:

Sverre Fehn - Venecia
Photo by Julian Pierre
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dezainnet:

Assembleによるカラフルなコンクリートタイルが特徴的なヤードハウス (dezeen)
Colourful scales front Assemble’s Yardhouse studios for east London creatives (dezeen)