dossier

atemporality/continuum

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0125     Hadrian's Villa   206k
0326     Basilica Sessorianum   2070

1230     San Stefano
...the Basilica of St. Stefano, Bologna, thirteenth century, a religious compound where the Court of Pilate and the Church of the Holy Sepulcher, Jerusalem were/are specifically reenacted.

1. The six churches of which the plans are here given, nos. 1 to 6, are thus grouped at Bologna, under the title St. Stephen, the church no. 1, however, being more particularly dedicated to the saint.
2. Subterranean Church of S. Lorenzo, beneath that of St. Stephen, and serving as the Confession.
3. Church of the Holy Sepulchre; according to tradition the baptistery of St. Peter and St. Paul, no. 6, the first cathedral built at Bologna.
4. Another church, called the Court of Pilate.
5. Church of the Trinity.
6. Church of St. Peter and St. Paul.

1725     Entwurff Einer Historischen Architectur   4550
1750     Opera Varie di Architettura I
1756     Le AntichitÓ Romane


1759     Capriccio Palladiano

1762     Il Campo Marzio dell'Antica Roma
1762     Ichnographia Campus Martius   2110
1765     Osservazioni Sopra la Lettre de M. Mariette
1765     Key Plan of the Monumens
1769     Diverse Maniere d'adornare i cammini
1800     Recueil et Parallele des Edifices   3128
1805     PrÚcis des lešons d'architecture   1805
1814     Architecture Civile   3266
1830     Altes Museum   2120
1833     Court Gardener's House - R÷mischer Bńder
1835     Project for a Prince's Residence
1869-84     Schlo▀ Neuschwanstein
1884     National Bank of the Republic [Clearing House]
1884     Herrenchiemsee
1938     Danteum   2165

1970     Collage/Daniel Libeskind
COLLAGE/DANIEL LIBESKIND.     Collage challenges the notion of architecture as a synthetic construct--a mixture of various creative disciplines. The idea of achieving such a synthesis by a hollow manipulation of heterogeneous elements can result only in 'synthetic flaws'. Architecture cannot compete with film, total theater, technology, psychology, or sociology, to achieve relevance. By drawing from these motley disciplines it constructs only hybrid conglomerations without integral syntactic necessity or organic unity. The expedient definition of architecture as a 'total environmental system' is popular among designers, users, producers, critics, etc., because it allows the concurrence of all these points of view without provoking a conflict between them. The theory that architecture is a synthesis along Wagner's theory of the theater, allows and in turn justifies, the complete exploitation of any devise; be it plastic, programmatic, or technical, in order to achieve a superficial stimulation of our sensibilities. In this way the accidental and arbitrary parade in the guise of a new methodology. The attempt at incorporating these foreign technologies or sophisticated mechanizations does not lead to dynamism of thought but rather to enervating physical mobility. Progress in this direction is therefore futile from the conceptual view, for no matter how much architecture exploits these resources, it will always remain inferior to a discipline such as film, for its ability to manipulate sequences, control speed, or create instantaneousness.     The analytic approach, devoid of multiple means, limited to the existing materials, determined by historical realities, can fashion a new framework for concepts and ideas by releasing us from the determinism in both syntactic and semantic domains. It is a kind of poverty that is being proposed. A poverty of matter to be compensated by the development of the conceptual ideal. The use of 'garbage' reveals a possible method which can penetrate beyond the surface appearance of meaning and form, and strike at the very depth of conditioned relations; generating through a new grammar radically different ways of perceiving, thinking, and ultimately perhaps acting. [c 1969]

1971     Exodus, or the Voluntary Prisoners of Architecture
This study describes the steps that will have to be taken to establish an architectural oasis in the behavioral sink of London.
Suddenly, a strip of intense metropolitan desirability runs through the center of London. This strip is like a runway, a landing strip for the new architecture of collective monuments. Two walls enclose and protect this zone to retain its integrity and to prevent any contamination of its surface by the cancerous organism that threatens to engulf it.
Soon, the first inmates beg for admission. Their number rapidly swells into an unstoppable flow.
We witness the Exodus of London.
The physical structure of the old town will not be able to stand the continuing competition of this new architectural presence. London as we know it will become a pack of ruins.

Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, Zoe Zenghelis, 1971.

1976     The Analogous City

Aldo Rossi   La CittÓ Analoga   1976

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