It's odd to think that Piranesi works like Koolhaas does, especially since it's certain Piranesi did not know Koolhaas. If Piranesi's hedonism is in the architecture, then shouldn't Piranesi's architecture (that exhibits hedonism) be shown? I wouldn't say that the Carceri, for example, exhibit "pleasure or happiness as the sole or chief good in life." And the architecture in the Ichnograpia Campus Martius exhibits more inversionary themes like life/death, Pagan/Christian, love/war, and lots of spectator activity (which is more passive than active).
It's interesting to compare Tafuri's more rapid-fire passages with what was in architectural journals/magazines at the same time the passages were written. The passages are very much like taking all your bookmarks and then writting a sentence or two about each of them, and then grouping the sentences into paragraphs. I believe all the rapid-fire passages could have been very precisely footnoted.
from the vaults...
Piranesi's Birthday 2007.01
Piranesi's Birthday 2007.02
Piranesi's Birthday 2007.03