A section of a hall and a staircase, the work of Inigo Jones, at the seat of Sir Mark Pleydell, at Coleshill in Berk Shire (1756).

Cross Section of Inigo Jones’s Barbers Surgeon’s Hall. Provenance: London, Guildhall Library

Soane’s Breakfast Room… So inspiring. The yellow is so very special here. So natural.

Soane’s Breakfast Room

Terence Riley, ed., The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection, New York: The Museum of Modern Art, 2002, p. 111

Aldo Rossi designed the Cemetery of San Cataldo for a 1971 competition that called for an extension to the adjacent nineteenth-century Costa Cemetery. Rossi’s design of this important project is rooted in an Enlightenment typology of the cemetery as a walled structure set on the outskirts of a town. While based on a large communal structure, the form of the cemetery recalls the basic elements of a house. It is, however, a “house for the dead,” where roofless walls and rooms, and open doors and windows, have been designed for those who no longer need the protection of a shelter. In the aerial perspective drawing, Rossi employed conventions of perspective developed in the fifteenth century and used an aerial view to give a sense of the cemetery in both plan and elevation. These strategies, combined with his use of elemental forms and color, construct a visual passage through the drawing that corresponds to a journey through the cemetery itself, presenting a road toward abandonment in which time seems to stand still.

Bevin Cline and Tina di Carlo

Konstruction by Farkas Molnár

1921. Linocut, 11 7/16 x 11 7/16” (29 x 29 cm).

“Farkas Molnár (1897–1945)  Hungarian architect. He became a leading member of the Modern Movement between the wars. At the Bauhaus he designed his Red Cube House (1922) which was to be published, and is associated with Hungarian Activism. In 1929, at the invitation of Gropius, he contributed to the CIAM conference on ‘The Small Apartment’, after which he and others formed the Hungarian branch of CIAM. A powerful protagonist of International Modernism, Molnár designed several white-rendered blocky houses, with bold cantilevers and deep terraces, set in the hills around Budapest, clearly influenced by De Stijl. Some of his designs (e.g. Houses on Cserje (1931) and Lejtö (1932) Streets, Budapest) are paradigms of the International Style that gelled at the Weissenhofsiedlung, Stuttgart, in 1927. His Budapest apartment-blocks on Lotz Károly Street (1933) and Pasaréti Avenue (1937) are also significant. For a brief period in 1933 he collaborated with Breuer before the latter emigrated to America. Molnár was killed during the Soviet siege of Budapest (1945).”

“Terunobu Fujimori, a leading historian of modern Japanese architecture, began to design his own architecture in 1990. Since then, he has created a number of original buildings unbound by previous forms or styles, offering continual surprises to the world of architecture. The exhibition, “Architecture of Terunobu Fujimori and ROJO: Unknown Japanese Architecture and Cities,” was presented last year as part of the “Venice Biennale: 10th International Architecture Exhibition 2006.” It was acclaimed for offering a glimpse of an unknown aspect of contemporary Japanese architecture, which enjoys a high international reputation.”

Text from UIA

 ”Office Buildings,” from Vladivostok, e. 1987. Ink and watercolor on Japanese rice paper, 5 x 7 in. Collection of the Architect. Courtesy John Hejduk, Architect.     Shaman from Joan Halifax, Shaman : The Wounded Healer (London : Thames and Hudson, 1982).