97071501 Quondam collection elevations
97071502 Quondam collection elevations
97071503 Quondam collection elevations
97071504 Quondam collection elevations
97071505 Quondam collection elevations
97071506 Quondam collection elevations
97071507 Quondam collection elevations
97071508 Quondam collection elevations
97071509 Francisville Housing presentation boards working data
97071510 Francisville Housing floor plans
97071511 Francisville Housing plans elevations axonometric models
Bastille Day celebration
I returned to Fairmount on Sunday--there was a Bastille Day celebration at Eastern State Penitentary. The highlight was when hundreds and hundreds of individually wrapped Twinkies where thrown by Marie Antoinette and her Court from the high parapet unto us common folk in the street. I was laughing practically the whole two hours I was down there. The entire event was pure camp.
040715a Good-bye House model
040715b Good-bye House perspective
06071501 Romaphilia Philadelphia, perspective
bored with modern & contemporary, yet?
...there really is no evidence that Michelangelo knew the rules so well that he thus also knew best how to break them. That logic is more indicative of a latter-day, wishful-thinking, pedagogical explanation.
Michelangelo was more of a reluctant architect; architectural commissions were generally not something he sought. Sculpture was his real passion, and I suspect it was his sculptor's eye that really led him to use/design architectural moulding the way he did.
bored with modern & contemporary, yet?
Picasso wasn't necessarily breaking any rules here, but he was being somewhat improper. What this work tells me is that Picasso recognized a sculptural potential in a bicycle seat and handle that when combined (improperly, in a way not done before) generated a masterpiece. I get the same sense when I look at Michelangelo's architectural detailing. Rather than simply breaking the rules, he saw potential in architectural details that others before him hadn't seen before, and he produced many improper combinations and many unprecedented details.
e.g., Porta Pia
Perhaps Michelangelo didn't even see classical architecture as a set of rules, rather a set of potentials. (And perhaps language/grammer too might not be seen as a set of rules, but rather a set of potentials).
Why is everyone bashing OMA and Rem Koolhaas?
March 1968 "A Significance for A&P Parking Lots, or Learning from Las Vegas" published in Architecture Forum magazine.
Fall 1968 "Learning from Las Vegas, or Form Analysis as Design Research" studio at Yale; 10 day spent in Las Vegas.
10 January 1969 LLV exhibit at Yale.
1972 Learning from Las Vegas published by MIT Press; Part III (in the first edition only) featured Venturi and Rauch projects from 1965-1971.
...you can read the rest of Koolhaas 2001 text here. I posted the quotation here as an example of an "out of the ordinary" Koolhaas text. Koolhaas and Orbist interviewed Venturi and Scott Brown in 2000 (at Geneva) and this interview along with the 2001 Koolhaas text probably provide a fuller picture of Koolhaas's thinking in this case. Also, Koolhaas with Venturi at the Vanna Venturi House.
It's been a long time since I looked through Harvard Design School Guide to Shopping.
14071501 Courthouse Plus Ultra model 22002 Campo Rovine context
14071502 Campo Rovine Parkway Hejduk plans Ury Farm plans in register with New Not There City in Northeast Philadelphia
14071503 Ury Farm District Q within New Not There City, plans
14071504 Houses Under a Common Roof model in register with District Q of New Not There City
14071505 Maison l'Homme model in register with District Q of New Not There City
14071506 Housing at La Villette model in register with District Q of New Not There City
religious architecture by non-religious architects
Chapter 5: Sacraments of Hejduk's Pewter Wings, Golden Horns, Stone Veils features drawings and sketches of Cathedral (1996), a religious complex called Pewter Wings, Golden Horns, Stone Veils, Last supper (building), and Christ Chapel.