A cautionary note: cyberspace, virtual place, and the notion of vituality in general are (too) often used interchangably, however, these terms are far from being necessarily interchangable.
I ask this because to me there is an open gap between your initial definition and the term being described.
They too are increasingly being inspired by particular high-end cad softwares.
Without some factual backup, there is nothing to prevent your possibly being wrong.
My point being that "flatness" is an architectural aesthetic with a long history and very much independent of CAD.
It seems more and more true now a days that sounding like a good idea and being a good idea are very much not necessarily the same thing.
Greatly ornamented buildings simply stopped being designed.
With regard to what I last said here concerning the possible notion of an assimilating architecture, my further elaboration of their presently also being an imaginative operation of a metabolic nature now seems very timely.
And finally, thanks for being part of what's turning out to be a true metabolic dialogue--your anabolism (constructive metabolism) and my catabolism (destructive metabolism) most times make a very good match.
I now think of Rotterdam and the Netherlands as also being very metabolic places.
"These tools in the past were always in man's hands; today they have been entirely and formidably refashioned and for the time being are out of our grasp."
My feeling all along has been that architects and designers should explore all the capabilities that CAD offers rather than being distressed over CAD's popularly per[con]ceived limitations.
As an aside, anyone who thinks that the use of computers and CAD destroys the potential for creativity is plainly being ignorant, probably inexperienced, and overall foolish.
Thankfully, I escaped with only being very shaken up and a bump to the back of my head, however, my car is totaled.
Moreover, I never said anything about "all cultures"--when Mark says I was "assuming that all cultures want to live like we do in the industrial west!" he was perhaps being the more assuming with regard to what I meant.
Some of my work is available at Quondam (Encyclopedia Ichnographica), yet the bulk of my material is still unpublished, and meanwhile a paper abstract is currently being submitted to a European colloquium--once the abstract is either accepted or rejected I will make the text available.
I'll get more specific sometime in the future, because I have been thinking a lot recently about the real implications of Quondam in terms of being so far the only real virtual building/museum presently in existence, and to that end I believe I am actually the first architect to do such a thing, i.e., to design and construct such a place.
I had a very eclectic day, did everything from being my brother's bath valet for the first time to discovering that the first master architect of Christianity was a woman.
In this sense, concentration camps utilize architecture for what is surely among the worst of purposes, and, as an aside, Piranesi's Carceri (prisons) also represent architecture used for one of its worst purposes, however, in this case it is our perception that is "tortured" rather than our corporal beings.
Although it surfaced within the early days of my research towards developing The Timepiece of Humanity, the notion of various modes of human imagination being directly relative to our body's various physiological operations was a completely unexpected by-product.
In what adds up to a succession of one uncanny occurrence after another, ideas regarding the body within contemporary architectural texts and the ideas within chronosomatics come very close, so close that there is even sometimes virtual sameness, yet chronosomatics, because it harbors the base notion of the human body being a timepiece-symbol-blueprint of all history, is in each comparative instance alone able to make decisive intermediate conclusions and further projections regarding the (design of the) body and its potential meaning.
One could then say that the Great Pyramid regained its "tallest" status, except by that time the second pyramid of Giza may have already been taller than the Great Pyramid (like it is today--this differential is due to great Pyramid's full point no longer being there).
To more fully understand Eisenman's text it is necessary to know Tafuri's texts as compiled in The Sphere and the Labyrinth, particularly the notion of (classical) language being dead.
There are also some "spiritual" coincidences within my own recent life that lead me to have "faith" in my hypothesis, and these are being gradually disclosed in the "neo-legend" section of The Saintly Patronessing... .
My anger stems from being passionate about the Campo Marzio, and I dislike seeing the plan given such short shrift by a prominant architectural historian/theorist that should have known better.
Fletcher is being a little two faced himself here--first the Arch of Janus is not good design, and then the arch is progressive construction!
And is it possible that Helena, besides being the first master architect of Christianity, is also the world's proto-Gothic architect?
Basically, translating the Latin labels of the Ichnographia taught me that Piranesi was extremely accurate, thoughtful and purposeful in laying out the large plan, and this discovery is totally contrary to Tafuri's accessment of the plan as being completely arbitrary in its arrangements.
"It's very comforting being in the position of designing one's own history."
In being creative (or original), one sometimes has to do what is traditionally not supposed to be done.
Being digital, that data can thus take on multiple forms.
Being at that point now, however, puts me in a unique historical position because Quondam is the prototypical virtual architectural museum, and I am the first architect to design and execute this particular architectural typology.
All buildings are not architecture, but all buildings have the potential of being architecture.
Upon further reflection, I see you definitely have a point about their being a metabolic twist to what Tafuri and I learn from the Campo Marzio respectively
There is no question that I have egotistic tendencies; they have partly to do with being an architect, and its also just part of my personality. I imagine human clones will be completely egotistical; they actually won't have much choice in the matter being purely themselves. Perhaps my self-centeredness is only a sign of 'beings' to come. God forbid i'm cloned!
I say this is odd because I have always loved drawings as well as the act of drafting, axonometrics being my particular speciality.
So if you asked me about the notion of 'draughtsmanship' being the same as the delivering of architectural narrative, then I feel the same as you.
Being now thus informed may indeed have a noticeable effect on the second half of schizophrenia + architecture, and if that happens your [inspiring] email is largely responsible.
When I was a child in Catholic school, Purgatory was often described as 'limbo'--essentially being there and not there at the same time.
I still often think of you and I being very much on the same promenade architecturale, together on the same path in both a real and virtual sense.
Being now in limbo (at the half-way point), however, we have the opportunity to venture/explore within both the profane and sacred realms.
With drawing entities being more than just lines, etc., other programs can further manipulate the data to generate various quantitative analyzes/reports at the basic level or eventually generate other drawings/models.
It's been over ten years since I've read any Heidegger, but I do remember being very interested and indeed influenced by much of his thinking.
In Terragni's Danteum, Purgatory is designed as a "room" that is both (equally?) inside and outside--the transitional place. Supposedly, this is to have an uneasy effect, being neither inside or outside, but I think you can look at it positively as well, being both inside and outside--the center of the Villa Savoye is a perfect (positive) example.
By taking 'full advantage' I meant being both inside and outside, both profane and sacred, both restrained and liberated.
There is metabolism now, however, and it occurs within the kidneys as they produce uric acid--the kidneys are also the body's second best osmotic machine, the lungs being the first.
Subject: the pleasure of (being lost in translation) architecture
How ironic that someone whose point is missed complains of others being inarticulate, incoherent, unvocal and/or tongue-tied.
If the fact that SGP objects to his definition of interface being applied to an email list is any indication, then are 'interfaces' just another form of control, albeit cleverly masked?
For what it's worth, I take my work seriously as project(s), however projects executed to the full extent of homo ludens, as human being (seriously) playing.
For example, part of being good at being metabolic is knowing precisely where to break the rules (i.e., within the confines of the rules themselves)--legal loopholes are very metabolic.
"Conversely, it is difficult to imagine Garches being lived in spontaneously except by such as the Sitwells, with never less than half a dozen brilliant, and permanent, guests."
Was Helena one of the un-named members of Constantine's family who Eusebius mentions being present at the Council of Nicaea (May 325)?
The execution of St. Agnes, a young Roman Christian girl who refused marriage, was proceeded by her being sent to a brothel (the legendary location of which is St. Agnes on the Piazza Navona).
The most interesting aspect of scale is that it automatically implies at least two entities, namely, the entity being measured and the entity being measured with.
Doesn't being at the speed of light pretty much make everything else incidental?
Chronosomatics suggests that the foremost electromagnetic architecture coincides with osmotic architecture--the heart being the body's center of electromagnetism and the lungs, which surround the heart, are the body's largest concentration of osmosis.
Perhaps it is better to say that what I write, at times, carries a high degree of conviction, if also at times being extremely contrary.
Could it be that my being careful in thought and word presents the aura of "best" or "only"?
I sincerely hope there is nothing wrong with being good.
Being extremely brief, the best way to relate where I am right now is to say that I now know that schizophrenia + architectures = the unexpected.
As to the "problem" of "exciting ideas" never getting developed due to being brightly spotlighted and then quickly moved on from, perhaps this 'trendy' behavior too is a form of reenactment, that is, a repetitious renewal, the continual process of putting on a new hat, but always putting on a hat nevertheless.
I actually like having theoretical dialogues via email because the method requires the writing down of ideas, and, if the dialogue continues for a sustained length of time, it is always somewhat remarkable in that a significant and valuable document subsequently comes into being.
I used Princess Diana's funeral as an easy example of ancient Rome's triumphal way being reenacted, and also said that modern Greece may in some circumstances be trying to reenact its ancient glory as an ingredient for tourism.
Today, legends are usually thought of as popular myths (with myth being the operative word), but, by its first definition, a legend is indeed the story of the life of a saint.
I'm not being cocky or glib here, it's just that is has become profoundly evident that architects, when looking at the Ichnographia Campus Martius, still really have very little idea of what it is they are actually looking at.
Subject: (the reality of being) sleepless in Brussels
By this I mean, after spending three years creating a virtual museum of architecture and after one year of participating with design-l (both involvements very much something other than dealing with the 'real' world) that then being rather suddenly right in the thick of architectural discussion and debate was very much a shock to my system.
If all the terminology being applied to it is architectural, such as walls, doors, roof, etc., does this push it into [being] architecture?
While I was not practicing my piano lessons, I was also being a lazy student in school
Perhaps I'm here being overly simplistic, but recent architectural tropes and the pronouncements of such often appear to be elaborate justifications for what is otherwise plainly arbitrary in terms of ultimate design form.
What I like best so far about investigating reenactment in architecture, is the search for origins, that which is being reenacted, because it's in the origins that true originality resides.
And lo and behold, Wright, creative genius that he was, designed the foremost Jewish Vatican Museum in existence, with no one ever being the wiser--quite an accomplishment, (or did it all just happen subconsciously?).
"(Being not like most of you): this is my first time."
"Being hilly is somewhat silly and in winter it's also chilly."
"Being a piece of white paper with some black dots on it means I have/behold no emotions myself."
Has the now pervasive and generally accepted way of looking at and being critical of architecture also run out of steam?
I'm not saying there is anything wrong with the architecture that receives attention and the industry surrounding it being akin to the fashion industry, but I do think there is something wrong about not recognizing the phenomenon as such.
Perhaps one of the drawbacks of the 'being-there-right-as-it-happens-history' of today's culture is that the sense of continum is no longer as evident as it was in former times. With everything "new(s)' being automatically understood as 'of this very moment', the sight of 'events' being part of a much larger continuum is easily lost.
To me there was no doubt that my critical peerage was being purely prejudicial and biased because I knew they knew nothing about what CAD was really about.
Wherethe Camera Lucida tests offer 'physical' evidence for his theory, I, like Hockney, actually feel that having the working knowledge of being an artist when theorizing how artists work provides the more sure evidence, even though it is not physical evidence.
I very much question the widespread opinion that being able to design well is dependent upon being able to hand-draw well.
Subject: "being the information"
It may be that even just one generation down the line they will not be trying to "absorb" but just be being the information.
"Being the information" may not actually happen until the 'plane of the present' transcends the diaphragm and then begins to engage the heart in conjunction with the lungs--a chronosomatic transcendence (c.3090) from the profane (below the diaphram) to the sacred (above the diaphram).
Perhaps all abstractions are highly idealized reenactments of reality, rather than reality being a reenactment of highly idealized abstractions.
Is electromagnetic architecture that architecture which strives toward being the most efficient and sustainable?
I do not see the body as a metaphor for architecture, rather I see the pysiological operations of our body--metabolism, assimilation, fertility, osmosis, electromagnetism, etc.--as also being the imaginative operations of our mind.
I simply see the way that DNA informs our body how to assimilate, metabolize, osmosify, electromagnify, etc, as being the same way our DNA informs our mind to assimilate, metabolize, osmosify, electromagnify, etc.
And worst of all, you profess to be a teacher, while at the same time you show a high procility for not being willing to learn yourself.
Without being explicit about it, Plato nonetheless exercised reenactment in many of his texts.
Perhaps the 'popularity' of liking the 'mechanical' out of sight is really only a reflection of simply being human.
About five years ago, while I was heavily doing research regarding (the theory of) chronosomatics, I came to the conclusion that touch is the first sense to have come into being, and that touch/contact was/is indeed the medium by which "life" itself began.