Tuan Jie Hu Panorama

Beijing-based Drawing Architecture Studio (DAS) represents a residential district in Beijing in a panoramic drawing with inspiration from Colin Rowe’s phenomenal transparency theory.

Consistent with the exceptionally detailed signature style of DAS’ urban panoramic drawings, Tuan Jie Hu Panorama vividly depicts the views from the daily life in this local community – Tuan Jie Hu. Some 45-degree axes from different directions allow the viewers to constantly change their viewpoints, which is like a Cubism painting. Here it involves DAS’ subjective understanding on Colin Rowe’s transparency theory. Rowe extracted his concept of “phenomenal transparency” from Cubism paintings and built it into the understanding of architecture. It is briefly about tensions resulted from conflicts among different spatial systems. While in axonometric projection, the coexistence of orthogonal system and 45-degree axial system naturally presents interesting conflicts, both two- and three-dimensional. If using this unique feature from architectural drawing to depict cities, a Cubism artwork with “phenomenal transparency” will naturally come into being. In Tuan Jie Hu Panorama, opposite to Rowe, DAS uses axonometric drawing techniques from architectural practice to reinterpret Cubism art.


Extracts from 10 Moments of Production by Palace:

The project provides living and working spaces that allow a site to function self-sufficiently through modes of production. These “moments” that are placed throughout a light industrial zone on the outskirts of Granada, Spain, break from archaic forms of the city both spatially and socially. The challenge of the site is that it harbours numerous urban processes: interests of residential developers, private industrial areas (fragrance and plastics production), oversized commercial shopping malls, agricultural land and terra incognita. 

The project responds to these conditions with a series of main spaces: an open theatre, workshops, classrooms, laboratories, living quarters for local flora researchers and a trust fund that administrates profits generated on-site for reinvestment in its maintenance and new projects. 

Each of these moments of production are linked to a complimentary architectural response. The architecture of these moments are fragile, able to transform and mutate for future uses and exist in parallel with nature.

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The DHaus DLux Print



In 1908 an English mathematician called Henry Ernest Dudeney worked out how to turn a perfect square into a perfect equilateral triangle by dissecting the square in to 4 distinct shapes, these shapes can be rearranged into the triangle. This concept alone is fascinating but and the possibilities are endless when applying the formula to world of architecture and design. The animation below is a concept diagram of the stages of transition that the formula creates. The Formula has 8 fixed positions this means you can literally have 8 House in 1.

Torres bicentenario. Arquine

The classic model of skyscrapers provides its inhabitants with a space sandwiched between a core, mostly in concrete, takes care of most vertical lateral efforts. Yet wet employ enormous effort to mediate between the outside and the inside climates.

Glass facades gain enormous temperature in the warm months while the lose it the rest of the year. On the other hand the steel used to create those facades is becoming a commodity only booming economies can afford.

It has been said that the most exhilarating features of big buildings depend on their capacity to offer a variety of experiences in an apparent exterior stability. Yet, lately as buildings grow higher (bigger) this equation seems to work the other way around. Facades become more and more unstable and interiors more homogeneous.

If the services invading the plan of our tall buildings, hinder the possibilities for programmatic diversity; if we should disregard steel as the only possibility of making the “skin” of a building; should we not radically rethink the current modes of building high?

These skyscrapers use concrete as their mail structure. Their facades accumulate the mass of the structure on its perimeter, to mediate atmospheric conditions, and reinforcing lateral and seismic efforts. The structure, keeps the percentage of opening provided by most steel facades, but grows to engulf services that can finally be naturally lit and ventilated.

With the interior now liberated from the tyranny of structure, each tower is free to indulge into the peculiarities of their site conditions and create the most diverse spaces. Water will be naturally used along the building to regulate the temperature differences in Xochimilco, as plants will do in Atzapotzalco generating a vertical garden.

LOKOMOTIV.archs office LKMV©

Xavier Calderon Architektur ©