John Hejduk, House for Two Brothers, Berlin, Germany, 1988
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Buchner Bründler, Chienbergreben House, Gelterkinden, Switzerland, 2012 (via walti)
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Kühnlein Architektur, Wood House, Neumarkt in der Oberpfalz, Germany, 2015 (via spahn)
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Tezuka Architects, Natural Science Museum, Matsunoyama, Japan, 2003 (via kida)
'A 39’ X 13’ picture window made of 3” acrylic was designed to withstand over 2300 #/in of pressure to provide visitors with a unique view of the region’s massive amount of annual snowfall, which can top 100 feet/season. '
The Ruins of a Plantation from the March to the Sea, GA, 1864
When Union soldiers burned down buildings in Georgia during the March to the Sea, the brick chimneys often survived the blaze and were termed Sherman's Monuments or Sentinels to complement the warped railroad ties called Sherman's Neckties.
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Kyle Schumann & Katie MacDonald of After Architecture, Hearth Cabin, 2014 (via arkitekcher)
"Distilling the components of the classic backwoods cabin down to a wood stove and a stack of firewood, Hearth hybridizes conventionally disjunct elements into a seamless occupiable space — a domestic chimney. Contrasting the vertical timbers of the farm’s wooded landscape, the building takes form as a horizontal layering of wood members, from the slatted rain screen facade to the logs it stows. Stocked with logs that double as both fuel and ornament, the cabin is readily equipped for cold nights. A warm sanctuary in the wooded landscape, Hearth offers an intimate fireside seating area and lodging for two visitors."
Source: forestsinternational.org
Charles Demuth, Chimney and Watertower, 1931
Papal Chimney of the Sistine Chapel, Vatican City, c. 2005
'One of the primary functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as a signal. If white smoke appears, created by burning the ballots of the election, a new Pope has been elected. If a candidate receives less than a two-thirds majority, the cardinals send up black smoke—created by burning the ballots along with wet straw and chemical additives—it means that no successful election has yet occurred.'
Thus, the chimney used as a symbolic device for signaling the election of the spiritual leader of over one billion people is a cheap, metal pipe temporarily installed during the selection process and then stored in the catacombs of the Vatican until the next pope dies. This object, nomadic and emblematic in its nature, seems thoroughly insubstantial for the task the Cardinals, and the rest of the Roman Catholic Church as a whole, assign it. However, perhaps in a city-state of extreme material opulence and traditional customs, this stark and industrial detachable appendage for a building makes sense by contrast. Like the banal and unassuming Holy Grail from 1989's Indiana Jones and the Last Crusade, the probable simplicity of the purported life of Jesus juxtaposes the humility of his living conditions in Roman-occupied Judea with the medieval, renaissance, and contemporary glorification of God through massive construction undertakings and artistic devotion. The history of religious relics, specifically Catholic ones, is that of extreme contrast: veneration of the ubiquitous due to some assumed (and often falsified) sacred dimension to the object based on its interaction with a biblical or church figure. From the simple linen cloth of the Shroud of Turin to the purported Pot of Abraham and Head of John the Baptist in Istanbul, these relics engage both the bizzare and the generic, the gilded and the plain, the intentional and the accidental. Most relics in younger countries like the United States do not contain this same aura of religious authenticity, or propose a quotidian object as a symbol of profound city, state, or national importance, such as the Zero Mile Marker in Atlanta or the personal possessions of Martin Luther King, Jr.
Tudor Brick Chimneys, Hampton Court Palace, East Molesey, England, c. 1500s or 1600s