a chronosomatic architectures museum?
program for a chronosomatic architectures museum?
keywords: BIA body imagination
...consider the idea of Piranesi utilizing a metabolic imagination. This concept may be useful and illuminating in terms of making a case for Piranesi's possible graphic commentary/criticism of the evolution of Roman urban design. The idea of a metabolic imagination may also be useful in explaining degrees of representation.
The Body, the Imagination and Architecture (BIA)
BIA outline of chapters
schematic chapter 2
schematic chapter 3
schematic chapter 4
schematic chapter 5
schematic chapter 6
schematic chapter 7
Osmosis and Electro-Magnetism: an Outside Inside Architecture
...a comparative analysis of the Maison l'Homme and Plecnik's Houses Under a Common Roof and Krier's curvy housing at La Villette.
Osmosis and Electro-Magnetism: an Outside Inside Architecture
Le Corbusier's Tower of Shadows and Louis I Kahn's Mikveh Israel Synagogue; the issue (perhaps) of positive and negative? Does positive and negative bring up the issue of polarity, and thus the implication of polarity as a possible mode of the human imagination?
1. Assimilation taken to the extreme leads to a purge.
2. Purist architecture can be seen as a manifestation of an assimilating imagination taken to the extreme, e.g., the elimination of everything superfluous and even the design process reduced to a handful of bacis principles and executed in pure geometries.
TPH - new book format
Inspiration will explain how it was the duality of the painting that spurred the most interest and was the essential riddle of the painting that I wanted to solve. I will show how duality as a design element always intrigued me by mentioning the Double Theater, the duality poem from Geometry: it's..., Venturi's take on duality (probably earliest source for me) and finally DS's thesis project. Finishing with my own thinking that the notion of duality (like Huff's Symmetry) came from something in nature, specifically the human body. This means that the Huff articles that I was and still am in the possession of are also to be included in Inspiration.
S/AM: notes on Vidler's "Losing Face"
Body, Imagination, and Architecture @ Quondam
I am beginning to see the makings of a well connected set of pages that deal with the Body, Imagination, and Architecture theory and reach well into both Quondam's collection and the Timepiece of Humanity.
Related to Quondam, the connection will be to the forthcoming Strasbourg exhibit, Giurgola as pure assimilating metabolist, and Piranesi as the proto assimilating metabolist (although that title should probably really go to Michelangelo). There is also a connection to the Stirling. Le Corbusier, and Schinkel essays/ideas, and also Venturi's new theory of an electronic display architecture. All these topics/displays will house direct links to the Body, Imagination, and Architecture theory and thus contribute to the viability of the theory itself.
Body, Imagination, and Architecture
Earlier today, I was thinking how Western architecture came to the forefront of world architecture at the Renaissance/navel. Assimilation and purge then began to work in tandem, although seemingly separately. The (early) Modern Movement represents the crest of the purge (assimilation in the extreme) and now that the crest is past, we are in the midst of a metabolizing of the modern movement in architecture. I was thinking how many of the buildings in Quondam's collection are seminal pieces of the modern movement's metabolic phase, as well as some seminal pieces of the osmotic phase.
2. ...beginning to wonder whether architecture in the virtual realm is more the product of the osmotic imagination.
Campo Marzio - 3d (re)constructions
...start creating 3-D constructions of Piranesi's plans...be as inventive as Piranesi was. ... use a metabolic imagination and create a whole new Imperial Rome.
Further Deepening the "Natural Imagination"
4416 b c d e
architecture of extremities
Up till now I have not been able to adequately place the architecture of ancient Egypt within the Body, Imagination, and Architecture, but last night its meaning/interpretation came to me. Because it chronosomatically coincides with the legs, Egyptian architecture is within the region of corporeal extremity, and thus Egyptian architecture is an architecture of extremes.
The extremes of Egyptian architecture are somewhat obvious, and the great Pyramid is the best extreme example. The Great Pyramid is of extreme size, extreme abstraction of geometry, extreme polish, and extreme program--architecture of death. It could even be said that ancient Egyptian architecture goes in the extreme opposite direction from the rest of world architecture, primarily in terms of life vs. death, and light vs. darkness.
The temples of ancient Egypt also exemplify an extreme in that the inner-most sanctuary is of total darkness. Moreover, the architecture throughout is an extreme use of stone. (This last comment reminds me of Stonehenge in its extreme use of stone also, and its alignment with the summer solstice, an extreme solar condition, the longest day.)
An interesting reverse extreme in ancient Egyptian is the temple architecture of Akhenaten where there was no roof at all, only extreme sunlight. Akhenaten is also extreme himself within Egyptian history as being the "heretic" Pharaoh because he transformed Egyptian religion from extreme polytheism to and absolute monotheism.
BIA & Towards a New Dexterity
assimilation of the data and then multiple manipulation of the data. ...a crossover between BIA and Towards a New Dexterity.
BIA & Quondam
...the Maison Dom-ino legacy is also an example of purge and metabolism...
Scott's 'Humanist Values'
Monsters of Architecture
...creating new urban landscapes with deformed models from Quondam's collection. ...start with an analysis of Arquitectonica's Capital Park West. ...relate to the deformation of the Center City Philadelphia model. ...a manifestation of the metabolic imagination.
comments on Tafuri
Again, "rationality" and "irrationality" relate to the metabolic imagination.
Redrawing History - fertilized architecture
...begin the analysis of the Campo Marzio as fertilized architecture with the Porticus Neronianae. The plan itself is like the proverbial missing link because it has both the traditional and the new geometric state all in one design. There is also the solid/void issue which leads directly to the intercourse building in terms of inside/outside, figure ground, penis/vagina, male/female.
...there are references to fecundity in Tafuri, Wilton-Ely, and Fasolo.
Did Piranesi's own imagination itself reach a new "fertilized" state--a state where creative manifestation began to occur exponentially rather that merely linearly?
genetic 1 a : relating to or determined by the origin, development, prior history, or causal antecedents of some phenomenon : CAUSAL, HISTORICAL, EVOLUTIONARY b : based on or determined by evolution from a common source -- used esp. of relations among languages or among words and grammatical forms of languages c : concerned with or seeking to explain, interpret, or understand (as a literary or psychological phenomenon) in terms of its origin and development or of its causal antecedents 2 : of or relating to genetics : characterized or produced by processes of genetics
genetic 1 a : a branch of biology that deals with the heredity and variation or organisms and with the mechanisms by which these are effected 3 : GENESIS
the operation of the human imagination as a reenactment of corporal physiology and morphology
Campo Marzio - book outline redux
The story of my own incentive will be combined with the reenactment theories of Collingwood. It makes sense because my initial incentive was to fathom the unfathomable, and this became possible because of CAD, and thus through CAD I began to redraw/reenact Piranesi's process.
Combining Piranesi's "reenactment," his "redrawing" of history with the nature of his archeological "accuracy" makes more sense than having the two sections separate. I will start with Vico's "philosophy" and this blends very well with the previous chapter's ending with Collingwood. And this will lead into the issue of archeological accuracy. I will give a brief account of how Piranesi seems to sometimes deliberately confuse the issue. And from here I can address the plan on a case by case basis. I will conclude with the authenticity vs. veracity issue, and also suggest that perhaps Piranesi altogether entered virgin territory. I like the notion of ending with the idea of a new virgin territory because it leads perfectly to the next section which focuses on "Piranesi's Imagination and the Fertility of Roman Architecture."
I will start the imagination/fertility section stating the case for the multivalance of Piranesi's imagination and how all aspects of his imagination are evident in the Campo Marzio. I will list the operational modes and then correlate them to his entire oeuvre, and then to the Campo Marzio specifically. I would like to follow up with a concise explanation of the "fertility" of Roman architecture. I will follow this up with the Tafuri, Fasolo, and Wilton-Ely quotes. Finally, I will deliver my analysis of the hierarchy of the plans.
Staying with this section a bit more, I can call in Eisenman's comments about Piranesi from the Charlie Rose Show, and I should re-read Wilton-Ely's chapter "Fever of the Imagination." After just going through my notes, I think this will be the easier sample chapter for me to do. I have lots of material and I also have most of the drawings that I need to do for the analysis. I just thought that I could also include the contiguous/generative element analysis to this section as well.
I am now combining the former last two sections, and again this also makes sense. My notes so far on these sections are very sketchy, and most no longer even apply. The topics covered will center on the overall virtuality of Piranesi's work, which includes the type of spaces (environment) he designed as well as the way he depicted them (his "documentation"). This will lead to the Campo Marzio in the computer and how the new possibility of 3-D. I have experimented a little with generating aerial perspectives of the Campo Marzio plan, and this is just one example of representation ("documentation") that is now only available because of CAD technology. I would like to see this section end with an exploration of the Campo Marzio as a 3-D extrusion of the plan itself.