20 May

1664 birth of Andreas Schlüter
1672 André Charles Boulle admitted to lodgings in the Louvre

1728 death of Antoine Desgodetz
1764 birth of Johann Gottfried Schadow

1833 death of Eloy de la Barre

reenactment notes
1999.05.20     4401b 5007 5127

Re: nano stuff
2002.05.20 14:49     3753c

Re: architectural $pam?
2004.05.20 09:08

Living Architecture, Programmable and Mutant
2005.05.20 10:01

hotrod architecture
2005.05.2013:42
2005.05.20 14:12
2005.05.20 16:24     4000d 4069 4168

The Official Paradigm Shift thread
2008.05.20 08:49     2397 3770t 5401d 7700c
2008.05.20 09:45     3705n 3899c 3899p 7801c
2008.05.20 11:50     2196 2321 3770t 5401d 5600q

OMA's hyper Corb
2016.05.20 17:59     3314e 5401j
2016.05.20 19:18     3314e



1999.05.20
reenactment notes
3. The whole notion of cloning and recombinant gene-splicing vis-à-vis reenactment architecture--the new paradigm for the next millennium? I was also thinking that reenactment architectures are primarily metabolic, yet, like the Renaissance, reenactment is sometimes closely associated with assimilation. Moreover, the pyramids, in that they represent mountains, are reenactment architecture, but here it is extreme architecture as well. So reenactment architecture premeates all the various modes of the imagination, however, the operational type of reenactment architecture now/today is metabolic.


2004.05.20 09:08
Re: architectural $pam?
Earth's magnetic field is due to invert. Architects and engineers prepare for rare gravity blips during which to rebuild Tower of Babel. Millions to be employed. No trash can left unturned.
Aliens return to Mexico. Immigration loses all it wants to control.

2005.05.20 10:01
Living Architecture, Programmable and Mutant
Oh goody, more mutant metaphors.
Not only do I want architecture that is alive, but I want it to be sinful as well. It should lie, cheat, steal, even kill when necessary. Oh, and don't forget covet. Architecture should covet, covet, covet. When I steal something, the architecture around me should steal more. When people I don't like enter my architecture, the architecture will attack them, kill them, and then cremate them--the architecture will of course use the energy wisely.
When I am happy, the architecture will quickly show me that happiness is fleeting and stupid. The architecture will show me back to indulgence, greed and even gluttony. Architecture is alive with the sound of the vomitorium!


2005.05.20 11:01
Living Architecture, Programmable and Mutant



2005.05.2013:42
hotrod architecture
Along with performance, the notion of 'extreme', taking something to an extreme, seems to be necessary to the concept of hotrodding as well.
[The] example of the 'sleeper' is especially provocative architecturally in that two extremes are present in the 'design'--the super engine inside and the "rustying, paint peeling off everywhere a thin crack line runs across the windshield etc. etc." facade.
Suddenly I want to design architecture along the lines of looking like a dilapidated shack on the outside yet like the Hall of Mirrors a la Versailles on the inside.
Wait a minute. Ludwig II as hotrod sleeper architecture client! Who knew?


2005.05.20 14:12
hotrod architecture
In the case of Schachen, the building was to perform as a retreat, a "mountain refuge." The "Swiss chalet" motif certainly upholds the notion of a place of retreat in the Bavarian Alps. Yet inside there is an overly opulent "Turkish Hall" which offers retreat in a very extreme way, you could say both physically and metaphysically, a retreat virtually into dreamland, like a psychedelic trip even. (And who knows what "drugs" might have been done there.)
Architecture performs on all kinds of levels, from the structural (the most necessary and literal performance), to the mechanical (and here plumbing and electricity seem the most pervasive), to the programmatic, to even the symbolic. Doors have to perform, windows have to perform, toilets have to perform, roofs have to perform, etc., etc..
Perhaps it's as simple as taking any performance aspect of architecture to an extreme and you then have a design methodology analogous to hot rodding.

2005.05.20 16:24
hotrod architecture
Picking up on "stealth communication with other experts," I'm recalling a detail from Kahn's Esherick House. I think in the hall right as you enter the house there is a light switch panel unlike anything I've ever seen before. Not only are there like eight toggle switches in a row, but the panel is set on the wall vertically, as opposed to the traditional horizontal mounting. Granted this is just a small detail, but, given that the building dates from 1959-61, such a light switch panel seems extreme (and I certainly thought that when I first saw it in 1977), but also elegantly simple in its execution.
While I'm "in" the Esherick House, the windows here also have an extreme-ness to them, and these windows are very much integral to the architecture.
And now I'm thinking of the enormous light hoods that "light" the communal spaces of Kahn's Erdman Hall dormitory at Bryn Mawr. Again there is this extreme-ness in terms of how light enters the space, and the resultant effect is very much part of what makes Kahn's architecture "great".

And now thinking further about "windows," my favorite panes of glass remain those at either end of the quondam Liberty Bell Pavilion (vintage 1976). While not a makeover, per se, the detailing of this building has an extreme-ness to it overall, even to the point where the roof/ceiling is split right down the middle so as to not disrupt the axis of Independence Hall. And even aesthetically, if you look at this building closely, it wouldn't be a stretch to say it has a 'hot rod' feel to it. And, as to performance, as much as most didn't like the building, representatives of the National Park Service will nonetheless admit that it served its purpose of allowing thousands and thousands of visitors to see, stand by, and touch the Liberty Bell very well.

Anyway, I never expected to be thinking about Kahn and Mitchell/Giurgola architecture in conjunction with "hot rodding", so again, "Who knew?"

2008.05.20 08:49
The Official Paradigm Shift thread
HQ of DATA



Department of Architectural Theory Annexation
"Hey, do you mind taking a picture of me in front of a paradigm shift on top of a paradigm shift."


2008.05.20 09:45
The Official Paradigm Shift thread
Seven Typical Plans of Ambiguity or Plan Atypical
The first typical plan of ambiguity arises when a detail is effective in several ways at once.
In the second typical plan of ambiguity two or more alternative meanings are fully resolved into one.
The condition for the third typical plan of ambiguity is that two apparently unconnected meanings are given simultaneously.
In the fourth typical plan of ambiguity the alternative meanings combine to make clear a complicated mind in the architect.
The fifth typical plan of ambiguity is a fortunate confusion...
In the sixth typical plan of ambiguity what is designed is contradictory or irrelevant and the user is forced to invent interpretations.
The seventh typical plan of ambiguity is that full of contradiction, marking a division in the architect's mind.
5, 6 and 7 are my favorites.

2008.05.20 11:50
The Official Paradigm Shift thread
Many OMA and MVRDV projects owe a debt to Le Corbusier's Palais des Congrès (1964, shown here with the exterior walls of the upper box removed). A generic stacked grid filled with a wide variety of program. Le Corbusier's 'baroque' reenactment of Villa Savoye, even.
The Heidi Weber Pavilion is a composite of (at least) two earlier (1949-50) design ideas: Le Brevet 226x226x226 and Porte Maillot 50. The various designs leading up to and the early designs of the Pavilion itself make for an interesting study in 'paradigm' development.
Sous les Paves la Plage, indeed.


13052001 Houses Under a Common Roof composite site plan   2170i36


14052001 Le Composites plans 22002 context
14052002 Jung Zaha House plan 22002 context
14052003 Villa Stein de Monzie in Terrain plan 22002 context
14052004 Bye House in Terrain plan 22002 context
14052005 Trivilla Savoye plan 22002 context
14052006 Cut & Paste Museum plan 22002 in situ
14052907 Duchamp Inn plan 22002 in situ



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