how should someone feel after visiting a museum?
If it's an exceptional avant-garde museum, then according to design appropriateness, and even according to 'sustainable design' standards, the visitor should feel sucked in, confused, inadequate and, of course, an aftershock of wanting more.
NON - BUILDING - ARCHITECT - DRAMA
quondam 1 : some incompletely architectural museum 2 : architecture as delivery of content 3 : a practice hypermuseum 4 : the architecture [publishing] domain of Stephen Lauf 5 : a virtual place in architectural history 6 : a premier unbuilding that continually undoes itself 7 : the first virtual museum of architecture online 8 : (from the Latin) once, at one time, formerly; at times, sometimes, once in a while; some day, one day (in the future)
Krautheimer and Johnson
[2005.06.11: And don't forget "Creating One's Own Virtual Museum of Architecture" will be presented by Richard Krautheimer and Philip Johnson on 7 July 2005 within the enormous subterranean arched vaults of the Philadelphia Museum of Art. ]
Yes, calendrical coincidence was all the buzz again. As was last weekend's London/Philadelphia bilocation reenactment. And now subterranean arched vaults...from the tube to front row seats.
Krautheimer is still just in awe of Tertullian's and Piranesi's "De Spectaculis II" delivered 14 May 2005. It just never occurred to him before that the Mausoleum of Romulus/Circus of Maxentius complex (which reenacts the almost two hundred years earlier Mausoleum of Hadrian/Circus of Hadrian complex) became the paradigm, albeit inverted, for all the Roman Christian "church" architecture immediately after the Basilica Constantiniani (St. John Lateran) and the Basilica San Pietro Vaticano. That aerial shot of the Mausoleum of Constantina (Santa Costanza) adjacent the circus-like dining hall first "basilica" of St. Agnes made it all so clear. If only the circus-like dining hall first "basilica" of Sts. Pietro and Marcellinus adjacent the Mausoleum of Helena were still to be seen from the air. How clever of Eutropia and Helena to invert the pagan 'munus' architecture into Christian 'munus' architecture, and how very clever of Piranesi to secretly hide all this architectural history information within the ever quaestio abstrusa Ichnographia Campi Martii. Krautheimer freely admitted he wants to "redux" his "virtual museum of architecture," the Corpus Basilicum Christianum Romae.
Alas, Johnson is still in surprise shock since late January, i.e., he's for the most part speechless, which is a welcome change, even for himself. He never imagined such a thing as the Horace Trumbauer Architecture Fan Club that he is now a part of it, albeit he now has so, so much to really learn. Funny though, he's still "dying" to know what other architects will be joining the club. Whenever he names one of his quondam architecture "friends," the rest of the club just shake their heads "No" and say, "You still shouldn't throw stones."
Krautheimer's 108th birthday party yesterday was ever so intellectually stimulating, and Johnson's 99th birthday party tomorrow is being based on the theme of stupefaction. Apparently, Eutropia and Helena still like to invert things, and rumor has it that Maxentius and Constantine might even provide some entertainment with a "song and dance."
are the origins common ? can we prove it ?
I was yesterday thinking of the Villa Savoye as a museum, perhaps specifically a museum of Modern architecture even?
Jimmy Venturi's new website...
In the Football Hall of Fame, the integral electronic billboard is prefect for adapted reuse, just program the sign with new content.
Iconography, or the problem of representation
The surface examples I listed are within the context of electronic screens on buildings, and not meant to imply that iconography cannot have depth as well. Nonetheless, an architecture of just camouflage seems to be an interesting typology.
The main reason for the post, however, was to address the notion of architecture as delivery of content, which was (subsequent to quondam) also addressed by Willem-Jan Neutelings in Icon magazine (January 2006).
Architecture as delivery of content seems to be the opposite of architecture of just camouflage, doesn't it?
Complex Iconography and Contradictory Content in Architecture
Ichnographia Ottopia ... a gigantic virtual museum of architecture.
...put the plan of Whitemarsh Hall into the Philadelphia Museum of Art, and then use other plans as indicative of period rooms. ...ultra-modern "hyper buildings" by collaging the surface forms and standard office block shapes--"infringement complex" plus "surface shapes".
Use the models (bases at least) of other buildings models as the base of the developed designs of the Houses for Otto. The older models are to be used at a reduced scale. I visualized this last night and it seems promising--Dominican Convent site as base for the triangle House for Otto, etc.
I thought of playing some (more) with the Bye House model:
1. replace the wall with a dtm surface.
2. distort the model in x and y scale while the model itself is rotated at odd angles.
3. have the Bye House sticking out of St. Pierre at Firminy-Vert.
21 November 1958 - moved into 5233 Arbor Street.
21 November 1996 - Quondam, a virtual museum of architecture, begins its online existence, originating from the basement of 5233 Arbor Street.
21 November 2006 - quondam Quondam.
Piranesi, Kahn, Hejduk - and more architect combinations. ...utilize the Quondam collection freely.
the working title musuem
... write an architectural novel entitled "the working title museum". ...all the titles and something about them. ...there could be images/plans too.
filling in the "gaps" of the Ottopia plan
...inspiration regarding how to go about filling in the "gaps" of the Ottopia plan--create the boundary of the gap and fill the resultant (strange) shape with some existing plan data. I tried the process for behind the Altes Museum, filling the shape of the site with the Chandigarh/Governor's Palace site plan, and the outcome is nice--I'm going to treat it as a mat building with "sculptural" buildings on top.
I also did some strange 'scale and rotate' experiment with the Islamabad complex plan, using complex windows, and a kind of deconstructivist/Libeskind type of plan resulted. I'm not sure if more experimentation will result in better, more provocative or satisfying results. I wonder what would happen if the exercise were applied to a model instead of a plan?
On Quondam's front page I published images from the Ichnographia contiguous elements database. I just removed all line work apart from the (white) walls. The resultant drawings are a bit reminiscent of Hejduk's masques. I don't know if I'll ever use such data for any kind of design idea or implication.
John Hejduk @ Campo Rovine
work at Quondam
With regard to Appositions, start creating a whole bunch of plan appositions, really just do them...
...also create interesting drawing compositions in the process. And I want the notion of scale comparisons to be evident as well. This might turn out interesting, especially with inclusion of the mesh and surface models (in plan).
And generate a whole bunch of new plans via creating perspectives of the plans.
I like it when content takes on a form that very easily recognized yet not very easily digested.
Yet some people might still argue that anything looks better with a frame.
Did someone mention cocktails?
Perhaps that's what the artist/architect does, apply form to content. Yet, in the case of Piranesi's Ichnographia Campus Martius at least, it is the form within a context that discloses the content (if the observer is astute enough to find it)--the content is implied rather applied.
Necessary architecture books
As to books, I had and still have many, and at this point I'm seriously thinking of taking a lot of them apart and then mixing and rearranging all the various pages into a series of new books. Maybe I'm foolish, but I anyhow imagine there's a great untapped realm beyond the status quo.
Fill in the Philadelphia Museum of Art (blank) plan with excerpts from other museum plans. Do this for three levels above ground, and also do a series of below ground plans (a la the new Gehry project/expansion). This will be the Museum within Ichnographia Quondam (along with Parkway Interpolation and the Bilocating Barnes and Calder Musuem).
Get the Mies Courthouse with Garage model executed... ...the model will be a fecund "play thing". ...a couple other Mies court houses...
...pages that organize the cad database collection into specific sets.
Take some of the sophisticated surfaces and intersperse a series of floor/ceilings; no columns. Perhaps enclose the "building" with simple geometric shapes (transparent surfaces).
Generate multi-colored transparent surfaces; e.g., put a 2D perspective on the facade and fill the drawing with various colored transparent surfaces.
Create exhibitions of architectural 2D drawings by putting the drawings (etc.) on series of wall surfaces.
Experiment with extruding 2D drawings, e.g., a perspective drawing as a facade screen brise-soleil, the extrusions might also go rotate.
Apply 2D drawings (like elevations) to different/new surfaces that are not on the same plane.
Now try taking it to court.
Point one begins with "Media has invaded every aspect of our lives." and ends with "Just think of any architectural magazine today devoted, supposedly, to the environment, and instead one finds media."
More to the point: Advertising has invaded every aspect of our lives, and just think of any architectural magazine today devoted, supposedly, to the environment, and instead one finds advertising.
"In the future, everything will be an advertisement." --Rita Novel
The Guggenheim has very successfully, via architecture, become an advertisement of itself [via free press even]. The Guggenheim's architecture as advertisement has even become an aspect of the Guggenheim's sustainability. The image of Guggenheim buildings are trademarked even.
Architecture as delivery of content = architecture as delivery of "advertising space" = lucrative sustainability. (We already know this is how a lot of virtual architecture works.)