Venturi's Lieb (No. 9) House to be moved (or demolished)
...and then/now there's museification
dossier in brief:
(at least) a Philadelphia tradition:
Cedar Grove and contents
Letitia Street House
Briar Hill library and contents
Period Rooms of the Philadelphia Museum of Art
"If someone in the museum was truly interested in my work they would let me cut open the building. The desire for exhibiting the leftover pieces hopefully will diminish as time goes by. This may be useful for people whose mentality is oriented toward possession. Amazing, the way people steal stones from the Acropolis."
Robert Venturi, "Some Agonizing Thoughts about Maintainance and Preservation Concerning Humble Buildings of the Recent Past"
"Do you know the BASCO sign is now gone?"
"No! Do you know where it is now? We'd like to save it."
A typed letter signed by Robert Venturi, wherein he laments the demolition of his BASCO 'baby', is currently up for auction at eBay
"What's the address of the Nurses' Office in Ambler?"
"It's better now if you just look at the pictures."
[found the building and took pictures anyway]
"Took pictures of soon to be quondam building; visited museum exhibit without the museum building there yet; entered room that moved from inside one Trumbauer building to inside another Trumbauer building. Where do I get my best ideas?"
Best Building demolished; flower pattern porcelain enamal panels saved, many now in private and museum collections
Lieb House; another chapter in the architecture of removement.
Venturi's Lieb (No. 9) House to be moved (or demolished)
"...the question about whether that particular research is still relevant to this particular generation."
"why do we like when old ads are painted on the sides of buildings - and try to protect them - but wouldn't allow them now? why would we protect/grandfather a huge neon when we are disallowing similar sized led displays?"
"the name of the exhibition was spelled out in those plastic letters above the entry to the gallery, in the gorgeous grand entry hall of the museum."
[I'd say] Museification sometimes "has a way of nostalgically applying aesthetic qualities that were not present in the origin."
It is becoming more clear what Agamben means by "everything today can become a Museum, because this term simply designates the exhibition of an impossibility of using, of dwelling, of experiencing."
The antidote then may well be to simply use museums. And in that sense, the Lieb House has now been museified, but, if and when it reaches its ultimate destination, it will then be used as a guest house.
Started the process of coordinating the Philadelphia model with IQ. Right now the priority is to bring each section up to the level of completeness a la the data existing thus far. This seems to be the right way to go for Quondam because all the various model data of the entire collection will have a three dimensional place. No doubt this will all be a lot of (drone) work, and I hope it will be worth it, as in something worthwhile architecturally will be gained.
But what is this all really about? It does have to do with "using" the museum, and also using history, specifically architectural history.
Other things going on are:
1. reading A Skeleton Key to Finnegans Wake and seeing how it actually does relate to the ICM, (at least to my interpretation of the ICM). I may ultimately have to read all of Bloomer's Architecture and the Text to make sure I just didn't get her point back them just because I just didn't know any better (about Finnegans Wake).
The other interest in Finnegans Wake is because of the labyrinthine "design" and how I now want to understand and manipulate Quondam as a labyrinthine design. My feeling is that Quondam already is a labyrinth and now I just want to understand and design it better.
2. I want to also employ Quondam as an outlet for architectural fiction, and, right now, the theme of Quondam's architecture fiction is Quondam itself and the buildings in its collection are the novel characters. For what it's worth, I just thought of the Houses for Otto as "ancient" ruins where there are foundational remains but nothing else--we don't even really know if they are/were even houses. (And now I'm seeing how this is very much how Piranesi operated within the ICM and the earlier plans.) In any case, the narrative at Quondam derives from the stories that each building or buildings present.
Their house is a museum, when people come to see 'em
Log 15 is a...
...have yet to compile all the the museum plans within Quondam's collection, meaning adding Museum Annex, Calder Museum, Working Title Museum, Haus der Kunst, Cut & Paste Museum (and just as an aside, the latest REX museum seems to relate to the Cut & Paste Museum), Acropolis Q, Venue, Gallery Berwin, Circle Squared Museum, Domestic Museum, 5233, Villa Savoye(?), Palace of Versailles, and all the superimposed museum plans.
what's going on
Ongoing work on the "museum of architects"--once all the texts are formatted add all the date data to the calendar and start to compile a new chronological list of events. The alphabetical list will also be completely linked to the decade lists (via the 'name' tag).
...the history of Quondam; ...early sketch of the morph from Court Gardener's House to Museum of Architecture...
... hints about writing/compiling a "novel" text composed of the earlier archin posts--all of them and somehow filling them out.
Yesterday, voxelation entered the architectural lexicon in a definitive way. ...make a proper presentation at Quondam, particularly the reenactionary genealogy. ...add the OMA Hannover Hafen project where the voxelation occurs inside a stone shape (which always reminded me of those inside crystals). ...do a few voxelation models.
Le Corbusier turning recombinant
There is the idea of documenting (@ Quondam) the examples where Le Corbusier reuses past building design projects for new projects. For example, the Berlin Rehab project; the Chandigarh Secretariate at Olivetti Milan; the spiral museum; the Maison l'Homme; the stage set at Strasbourg...