Donald Judd
Progression, Anodized aluminium, 1979.
MoMA
Judd expressed the Fibonacci sequence in minimalist forms. The house is structured like one of his Progression sculptures - the voids and volumes unfolding in glass and concrete.
Luis Barragan
Las Arboledas, Concrete and water, 1957.
Mexico City
The master of emotional geometry provided the atmospheric inspiration for Can Fibonacci - monumental walls which become canvases for the play of shadows from the surrounding forest.
Mies van der Rohe
Barcelona Pavilion, Concrete and glass, 1929.
Barcelona
Mies distilled architecture to its essential elements: plane, column, reflection, proportion and space. The Barcelona Pavilion informs Can Fibonacci’s pursuit of radical clarity - calm living spaces unfolding through light and shade.
‘The clearest way into the universe is through a forest wilderness. When one tugs at a single thing in nature, he finds it attached to the rest of the world’
- John Muir, 1938
Donald Judd
Progression, Anodized aluminium, 1979. MoMA
Judd expressed the Fibonacci sequence in minimalist forms. The house is structured like one of his Progression sculptures - the voids and volumes unfolding in glass and concrete.
Luis Barragan
Las Arboledas, Concrete and water, 1957. Mexico City
The master of emotional geometry provided the atmospheric inspiration for Can Fibonacci - monumental walls which become canvases for the play of shadows from the surrounding forest.
Mies van der Rohe
Barcelona Pavilion, Concrete and glass, 1929. Barcelona
Mies distilled architecture to its essential elements: plane, column, reflection, proportion and space. The Barcelona Pavilion informs Can Fibonacci’s pursuit of radical clarity - calm living spaces unfolding through light and shade.