Palais des Congrès à Congres
The ramps of both buildings change from interior to exterior creating an architectural promenade that connects the ground plane with the roof garden and the sky
...all follow the same architectural promenade formula of an ascending path
The fourth ingredient of the architectural promenade is for the ramp to proceed, come out of the building and ascend toward the roof
The architectural promenade reaches its goal in the roof garden/solarium
Purism as Ultimate Assimilation
3. an analysis of the Villa Stein de Monzie and the Villa à Garches and the introduction of the promenade architecturale
4. an analysis of the Villa Savoye as both the full fruition of Purism and of the promenade architecturale
5. a bibliography of the promenade architecturale...
Towards a Metabolic Architecture
James Stirling's continuation of the promenade architecturale theme, and his contributions towards a metabolic architecture; a full analysis of the Wallraf-Richartz Museum design.
combined building documentation
...presents the promenade architecturale formula.
Palais des Congrès
...the similarity between the Palais des Congrès and the Villa Savoye which discloses the architectural promenade formula.
...the Wallraf-Richartz Museum promenade architecturale.
...the circulation sequence of the Altes Museum is very similar to the Corbusian architectural promenade formula...
...it was the creation of the Palais des Congrès model that lead to a search/quest for the meaning of the promenade architecturale. I was first attracted to the Palais des Congrès because of its unique roof garden and the enormous ramp that springs out of the building and provides access to the roof. (The roof/box and the ramp were the first parts of the model created.) It was because of the roof design that the first comparisons to the Villa Savoye were made.
...story of the promenade architecturale continues from here:
1. finished the model and searched for the meaning of the building, and soon all the similarities between the Palais des Congrès and the Villa Savoye became apparent--the superficial comparisons were obvious, but the notion of a promenade architecturale formula came after (as a result of) the comparison.
2. Frampton's caption regarding the promenade architecturale at Villa Stein de Monzie added significance--at the Villa Stein de Monzie the manifestation of the promenade architecturale is more readily evident, especially the notion of a steadily ascending path.
3. The formula gelled through the evidence found in the three buildings.
3. Realizing how the Danteum brings a unique twist to the architectural promenade "formula"... ...a more substantial set of examples which now include Piranesi's Ichnographia Campus Martius and Dante's Divine Comedy.
..."Promenade Architecturale: A Documentary, Part II," which addresses the sequence of forest, hell, purgatory and heaven. ...may want to do an "architectural promenade" analysis of the Divine Comedy.
Campo Marzio - the triumphal way
...an article in Ritual on the story/meaning of the Triumphal Way in ancient Rome. ...the route that Piranesi deliniated starts at the Templum Martis and continues until it enters the city at the Porta Triumphalis. ...have to reconsider the "profane to sacred" architectural promenade... ...the realm of the profane and the sacred did invert itself in Rome with the conversion to Christianity from paganism. Perhaps Piranesi is making a commentary on the reversal in ancient Rome's history and its meaning as a city. ...the Templum Jani sits at one of the ends (beginning?) of Piranesi's Triumphal Way, and this gives ground to the backward/forward reversal notion. Perhaps the whole notion of inversion is a dominant theme...
Promenade Architecturale documentation
The documentation will conclude with the discovery of the link betweeen the promenade architecturale and the transition from profane to sacred as exhibited by Terragini's Danteum, and then back in time through architectural history: the Altes Museum, the Triumphal Way within the Ichnographia Campus Martius, and finally the Pantheon.
Promenade Architecturale: A Documentation, Part I 3123
...Stirling's modern transformation--metabolic?--process, and introduce the transformed Altes Museum model. ...note how Museum for Nordrhein Westfalen re-enacts the movement/circulation path of the Altes Museum--much more so than the Staatsgalerie design--and this manifestation of path and goal relates to the Le Corbusian promenade architecturale.
The sink in the lower foyer of the Villa Savoye could be used as denoting the profane realm when it comes to addressing the profane to sacred nature of the architectural promenade. Remember there is a whole essay about the sink in the book entitled Plumbing.
Stirling's Muses, Part II 5606
The other ways that Stirling reenacts the Altes Museum with the museum design for Düsseldorf are not so obvious, however. For example, the Düsseldorf design, like the museum in Stuttgart, "plays" with the "facade" of the Altes Museum, yet in a way unique to itself. Moreover, Stirling demonstrates the metabolic nature of his design capabilities by manipulating and "deconstructing" the Altes Museum's promenade architecturale.
The notion of promenade architecturale at the Altes Museum refers to the seemingly intentional choreographed sequence of architectonics and spatial zones encountered by visitors as they enter the museum. Far from being a single threshold, the "entrance" of the Altes Museum is more like a capsulized journey through "space and time" whereby the visitor experiences a remarkable series of alternating transitions--moving from outside to inside, inside to outside, and from below to above--all in pursuit of the ultimate destination of the museum's central rotunda and its surrounding galleries.
6. a reverse reenactment of the promenade architecturale "buildings".
As a "three dimensional network", Jussieu does indeed greatly elaborate the 'tectonic plates' of the Palais des Congrès, however, the Corbusian promenade architecturale paradigm of sequential ascent through 'forest', profane base, inside/outside box, and ultimately to luminous heights, which the Palais manifests, does not readily translate at Jussieu.
perhaps not OTHERWISE EYES, but promenade architecturale
...believe it would be wiser to take a single topic and develop it to the fullest. The topic I'm thinking of starting with is the "promenade architecturale." The following is an initial outline to proceed with working on the "promenade architecturale" documentation:
1. collect all notes on the subject.
2. collect all web pages on the subject (Not There, letters to India).
3. collect all the CAD graphics and models relative to the subject (Monzie, Savoye, Strasbourg, Danteum, Cologne, Altes Museum, Düsseldorf(?)).
4. collect all material on the Campo Marzio triumphal way.
5. review Plattus' text on the Roman Triumph.
6. working title: from triumphal way to promenade architecturale?.
7. the triumphal way formula nicely matches the promenade architecturale formula.
8. web searches on The Divine Comedy.
9. construct the Altes Museum rotunda, construct the Campo Marzio triumphal way in 3D.
...several further ideas/areas of research to pursue:
1. excerpts from Livy and Plutarch on Romulus.
2. web search Nero and his triumph (in Suetonius).
3. search Eusebius for Constantine's triumph October 29, 312.
4. my triumphal arch as triumph over gravity idea.
5. is Bernini's Scala Regia a transition from triumphal way to promenade architecturale?
6. might there be something in The City of God Against the Pagans that relates to a triumphal way or an ascending promenade?
7. the "Rape of the Sabines" as a prelude?
8. end with the triumphal way of Diana and thereby end with the notion of reenactment.
9. title: Quondam Eventualities: Triumphs, Promenades and Reënactments.
Language & Voice
Perhaps the 'missing' verbs in 'architectural language' are the actions that go on in architectures. For example, the narrative of the Danteum manifests itself as one proceeds through the building. This is to suggest that promenade or circulation through a design (is one of the elements that) provides the link between architectural subject and architectural object.
Language & Voice
A "perceptually effective sequence" is something that an architect can intentionally design. Le Corbusier did it at the Villa Savoye, which is "understandable" without referencing any literary source. Le Corbusier also did it within the Palais des Congrès (1964), Terragni did it within the Danteum (1938), and James Stirling did it within the Museum for Nordrhein-Westfalen (1975) and within the Wallraf-Richartz Museum (1975). Sadly, none of these building designs was ever executed, hence they are not prominent examples within architectural history. It was precisely because of the sequences within these designs however, that prompted me to create computer models of these buildings (in the early 1990s). I also wrote several articles and essay on the promenade architecturale which were published at www.quondam.com. My point now is that had these buildings been built, just maybe there might now be a far better understanding (and hence better teaching) of just how effective a deliberately designed architectural sequence can be.
Granted, any architect designed "preferred route" can be misunderstood or even ignored by a building's user, but that shouldn't prevent architects from at least trying to add "architectural language" to how a building is moved through.
What I find most interesting about designing architectural sequence is that the sequence itself is not actual form, rather the gaps between actual forms. For me, it's another example of learning from lacunae.
2. the promenade architecturale documentation because of the reenactment element that permeates the entire "history".
Information Architects Talking About Architects and Architecture
Presently, I like to design delivery of content in the enfilade slash labyrinth style.
Perhaps, someday, I'll design some delivery of content following the architecturale promenade formula.
Actually, I've been struggling with a big design/renovation brief, the solution to which has been eluding me for well over a month now. Alas, today, while just stepping out of the shower, it finally dawned on me--delivery of content in the enfilade slash labyrinth style via bilocation.
Is subtext actually text bilocated?