Venturi's Lieb (No. 9) House to be moved (or demolished)
Historical analysis within a space-time continuum is more ongoing productivity and less end-product.
"architectures in the space-time continuum"
architectural history in the space-time continuum
Pergamon, wo bist du?
I'm beginning to wonder which is more immovable, a building or an opinion.
"[This museum should be regarded as a kind of reliquary containing various mementoes symbolizing not only the eternal brother-conflict, but also the military and diplomatic encounters, exchanges and betrayals of recorded history.] An old woman conducts a party through the museum, pointing out relics from the battle career of her hero Wellington, the Iron Duke. There are exhibits under glass and pictures on the walls. A flag, a bullet, a military hat; Duke Wellington on his big white horse; three soldiers crouching in a ditch; a pair of Naopeon's jinnies, making believe to read a book of strategy; and a sex-caliber telescope through which the Duke trains on the flanks of the jinnies."
fashion tip (of the iceberg)
arbitration and arbitrariness blurred
reality being relative to the vastness of its container
arbitration and arbitrariness come into focus as instinct
"the time it takes to do this" as continuum
i.e., "...to compose this novel in a real/virtual manner. Do you assume this intention needs support from the living?"
background music: ...sounds a blur (in a good way) between Saussure and the debunked Blavatsky, but to no surprise as I have heard the two in the same breathe before.
aspatiallity at work
space time continuum
space time discontinuum
aspatial atemporal discontinuum
aspatial atemporal continuum
(xsquared + 2xy + ysquared) x (xcubed + 3xsquaredy + 3ysquaredx + ycubed) marks the spot, maybe.
the expeditious expedition
had flags and colors and birds
and waves of hands
and waves of seas
with the goal to please
all reality is relative to the size of its container
all irreality is relative to the holes in the container
we are all mirrors that have to see ourselves regardless
DEconstructivism and Baroque..
"However, baroque was obviously much more successfully extensive in domain and in its reign. I think deconstructivism came at a time when we had a very retrospective idea of forcing the "zeitgeist" upon itself. Very typical in our then increasingly capitalist world (I dont think it is possible to be increasingly so anymore, after the 80s and 90s of the last century). There are no more actual movements after minimalism and deconstructivism, in my opinion. We now have individual architects and architectural firms. Even in music, after atonality and minimalism, there are just composers."
... perhaps the Zeitgeist has been subsumed by the continuum.
the beginning of Unthinking an Architecture
So, how does all this get to the cutting edge, the place where architectures are unthought? Perhaps the destination is reached when the texts turn into architectures (themselves). All the stories turn into (new) designs. Today's work with the Danteum and the Palace of Ottopia is a prime example of how the 'stories' generate their own 'unthought' architectures.
Now there are glimpses of how Quondam will continue to operate. The whole site is open to unthinking, interpretation, experimentation, but there is a formal place for Unthinking (an) Architecture(s) to unfold and fold again. Or is it to be more labyrinthine? The whole undoing could be connected by links. In any case, proceed by always unthinking whatever is to be figured out, or whatever obstacle might be in the way, or whatever graphics might be best suited for the representation. Does all the unthinking occur within the space-time continuum?
Letters from the space-time continuum obviously have many layers, but, nevertheless, all the passages come from specific calendrical positions along the Earth orbit relative to the Sun. It's all coincidences, but never necessarily consequential.
Last night and early this morning, I read Sarah Williams Goldhagen's "Something to Talk About: Modernism, Discourse, Style" (JSAH, June 2005), where she sets out the prospect of (historians) addressing "What was, or is, modernism in architecture?" by "conceptualizing modernism in architecture as a discourse centered on the problem of how the built environment should be constructed to grapple with and respond to, rather than reject or ignore, the complex phenomenon of modernity [thus repositioning] it as a broad, deep, fundamental, yet also explicable social and cultural formation." Basically, Williams Goldhagen wants to see [the history of] modernism in architecture include all the "other" designs (by modernist architects) that are not done in the generally accepted modernist style. The desire is for a more honest rendition of modernism in architecture, but, yet, there also seems to be a subliminal assumption that (the history of) modernism in architecture would likewise provide a full history of architecture of the last 100 years. Wouldn't the most honest history of (roughly speaking 20th century) architecture include all the styles designed/produced over the last 100 years?
To be continued...
After reading "Postmodern or Posthistoire?" it seems that the notion of posthistory coincides with the hyperactive assimilating imagination over the better part of the next two centuries.