Re: Osmosis /Electromagnatism /(An)Architecture
The definition of osmosis you supplied is indeed the first definition of osmosis, but there are several others:
a process of absorption, interaction, or diffusion suggestive of the flow of osmotic action: as an interaction or interchange (as of cultural groups of traits) by mutual penetration esp. through a separating medium : a usually effortless often unconscious absorption or assimilation (as of ideas or influences) by seemingly general permeation<
These subsequent definitions of osmosis relate rather well to architecture, as I've already mentioned, particularly to the architectural notions of transition from outside to inside and vice versa. I see the Pantheon in Rome and Kahn's Kimbell Art Museum as extremely fine examples of osmotic architecture. Furthermore, the Pantheon and the Kimbell are also extremely fine examples of electromagnetic architecture because they are both consummate examples of an architecture of light (i.e., electromagnetic radiation).
I am not here proposing that the above interpretations are the only correct interpretations of these buildings and the definitions under discussion, but I'm rather making connections between corporal physiological processes and architectures that for the most part haven't been made before.
The notion of reenacting the Trilon and Perisphere of the 1939-40 New York World's Fair is only virtual architecture at best. Nonetheless, I find it evocative of how 'design' could be handled, as in Brian's recognition of the archaeological.
Interesting how the Parthenon was destroyed by explosion--the building was used by the Turks as an ammunition magazine, and a stray spark during a battle ignited the sitting bomb. "And now it's a prosperous tourist destination."
I have a small portion of lower west Manhattan in 3D cad model form, vestige of a small job I did for Venturi, Scott Brown & Associates in the early 1990s, and I might make further use of it now.
Theory Part II - Doing What I Said I Would Do...
Does Goldhagen mention Piranesi's Campo Marzio hanging over Kahn's office desk or the Guadet volumes on the desk?
Naturally, his thinking has foundations in architectural history. As Joseph Esherick sees it, "There is a moral injunction and an ethical character about Kahn's pronouncements. It is familiar in the writings of Julien Guadet, whose Éléments et Théorie de l'Architecture in four volumes (1870-1880) posits that the elements of architecture are not the ancient orders but they are windows, walls, floors, and light. The idea that a wall wants to be a wall and the idea of master spaces and slave spaces are both in Guadet. I remember," Esherick adds, "that the prominent thing on Kahn's desk when I first went to meet him in the late 50s was a copy of Guadet's old testament."
--C. Ray Smith, Supermannerism: New Attitudes in Post-Modern Architecture (1977), p. 82-3.
[note to self: Kahn reenacts both Piranesi and Guadet.]
Theory Part II - Doing What I Said I Would Do...
You know there really is no proof that personal fantasy automatically translates into bad design/architecture. Nor is there proof that personal fantasies automatically lack any theoretical foundation.
Response to Donna, re: Traditional Architecture
"But Lou and Arthur were on my roof talking, so that Lou could meet this interesting South African architect, which was very nice. I was a young widow living in Philadelphia and living at Penn. And I seemed to have been an unwitting member of all sorts of situations, which I didn't know what was happening, but had some intuitive feelings of things happening. Which were men--married men and unmarried men--who were seeming--it seems as if I had figured in their lives in some sort of way that I wasn't quite sure of, and I didn't want to know about. That is, I wasn't interested in the side of being a young, single woman, experienced--I had been married already -- and of interest to a range of different people on the faculty and around. So within that sort of context, Lou was interested in me in that way, too. It's something a woman professional learns about. Men have other interests in her than as a professional. Oskar Stonorov was like that. I thought I was being invited to dinner to talk about Le Corbusier, and I discovered that that wasn't his agenda. But it had been my agenda. When I met Oskar Stonorov, I thought of him as the American version of Ernö Goldfinger, and Ernö Goldfinger was an English version of Oskar Stonorov. They were very similar people. And sure enough, Oskar Stonorov suggested--he said, "Oh, yes. I remember Ernö Goldfinger. He was the one who couldn't draw." [laughs] Just the sort of thing Ernö would have said. Anyway, what I'm saying is nothing happened in any of these situations, because I was just not -- that wasn't my role in life. In other words, if I got invited for dinner by Stonorov, who had a wife, and I thought I was being invited to talk about Le Corbusier and architecture, and I found that that probably wasn't what he had in mind--what he had in mind, I would not let become very explicit. And there was something like that with Lou, too. But what are you going to say? Later he took up with Harriet, and he had been with Ann [Tyng]. He didn't manage to have a relationship of any sort of sexual nature with me, though he would have liked to. And I was just the kind of person he was attracted to. Now, that's one of the sort of things I should probably restrict. It's pertinent, but it isn't. I never know quite whether those things..."
--Denise Scott Brown
13032801 New Not There City Battery Park City
Is drawing dead?
Word processing doesn't make me less considerate of what I write, in fact, it gives my words alacrity. The same can be said of what CAD gives my designing.
A two minute sketch from 26.5 years ago brought to new ComputerAidedDesign life last night.