Subterranean Museum | Via
What was once an enormous salt mine in turda, romania, has now been carefully renovated by the regional cluj county council into the world’s first salt mining history museum. the salina turda salt mines were excavated in the 17th century, proving a crucial source for salt that brought the romans much wealth. today, the durgau lakes at the mine’s surface – responsible for much of the salt deposits in the area – are popular tourist attractions that guarantee a steady flow of visitors all year around. a trip down the vertical shafts that once transported thousands of tons of salt will slowly reveal the immense scale of the excavated earth, made blatantly clear upon reaching the very bottom of the mine which is covered in a sand-like layer of salt.
Almost borrowing a certain aesthetic from the deep sea, the bottom of the mine features almost alien structures made of timber members and illuminated with suspended tube lights. the interior maintains a steady 11-12 degrees celsius and 80 percent humidity, completely devoid of any allergens and an almost absence of any bacteria, making the unique micro-climate a destination for those suffering from allergic respiratory diseases.
"It is only architecture, not the salvation of man and the redemption of the earth."
Arthur Drexler - Five Architects
Adolf Loos, Tristan Tzara House, Paris, (1926)
The modern-style house was built in 1926 by Austrian architect Adolf Loos for the poet & writer Tristan Tzara - opportunist, radical artist, activist, founder of the Cabaret Voltaire, enemy of the Surrealists, Romanian, and the founding father of Dadaism – and his wife, the painter, Knitson. The rigidly functionalist Maison Tristan Tzara, built in Montmartre, was designed following Tzara’s specific requirements and decorated with samples of African art. It was Loos’ only major contribution in his Parisian years.
"The inner complexity of the plan was a topical Loosian solution for a difficult site. The complexity had its wit, as did the strangely highly-abstracted anthropomorphism of the facade, or the use of the commonplace Parisian industrial detailing in the lower floors, the shape of the lower niche, again the inversion of his favorite English bay-window. It is a configuration not unlike Le Corbusier’s exactly contemporary villa at Garches for Leo Stein: a blank facade, sparsely pierced to the street, and an open, glazed frame towards the terraces and gardens at the back. But Loos’s complexity always remains hard, the spaces are never moulded, never the plastic, shaped interiors which Corbusier made them."
Cinema “Airone”, quartiere Appio-latino, Roma, 1953. (Adalberto Libera, architecte & Giuseppe Capogrossi, décorateur) (via Le Pôle)
"Outside the limit of our sight, feeding off us, perched on top of us, from birth to death, are our owners! Our owners! They have us. They control us! They are our masters! Wake up! They’re all about you! All around you!" - They Live
House by Flávio de Carvalho
Casa Vogue did the spread as a tribute to the Brazilian architect/artist, with a range of designer items and artwork.
Unknown Architect, Palm House at Bicton, (1818)
Although the architect of the Palm House at Bicton is not recorded, the genius behind the Palm House’s design is almost certainly John Claudius Loudon, in whose book, Greenhouse Companion, several similar designs appear. He had been experimenting with the building of glass domes and half domes since 1815 and invariably used the London firm of W & D Bailey to construct them. In 1818 he sold them the rights to his designs and the use of the wrought iron sash bar he had developed.
What causes such wonderment on entering is the fact that the whole central dome is completely unsupported. Loudon himself was proud. “It is worthy of remark”, he said, “that there were no rafters or principal ribs for strengthening the roof besides the common wrought iron sash bar.” In consequence the dome resembles a gigantic glittering spiders web suspended across the sky.
The whole building is held together with pressure alone and only became a stable structure when the glass was fitted in. The panes overlap each other like fish scales and each one is hand moulded thicker at the edges than in the middle. Thus the rain is deflected from the iron ribs.
At the time it was built, glass manufacturers charged their customers by surface area but were taxed themselves by the weight of the glass. For that reason they made the thinnest glass possible, large pieces of which were extremely fragile. To use small panes for the palm house at Bicton was a practical solution. It also meant that the structure would be curved, without the panes themselves being curved.
Romita Comedor by Rodrig Espinoza
The building dates back to the early 1900s and its style was inspired by grand railway stations.
Alena of the Crystals, 2009, oil on canvas, 100 x 60 cm
The Duration of Promises, 2010, oil on canvas, 180 x 140 cm