040718a Tower for Princeton Memorial Park model 2342i08 b
040718b Tower for Princeton Memorial Park model 2207i06
040718c Mikveh PMP plan 2346i01
040718d Mikveh PMP model plan 2346i02
The fractured standard is just that, fractured. There is no universal, and indeed there never really was. Just look at what was going on (somewhat globally) in the early 1730s. There is no real universal standard, rather standards were then (and still are?) relative to place.
I'm not exactly sure how "any definition of place is going to be arbitrary."
There is a somewhat unquestioned methodology to architectural history, which categorizes types of architectures by period (time) and location (place). And this is mostly a Western European standard. Yet architectural history is rarely written where it demonstrates how types of architectures actually overlap when architecture is culled from all over the globe at any given time.
If you're not arbitary about place and simply say the globe, and then look to see what types of architecture were being done (on the globe) at any given time, you'll see just how diverse architecture always was. Interestingly, this is how we judge the present (and conclude that standards are fractured), but it's not how the past is/has been judged.
I agree that architecture for the most part is arbitrary in the sense that most architecture reflects a set of specific decisions (arbitration), but only a small percentage of architecture is outright whimsical. Personally, it's refreshing to see just how diverse architecture has always been.
Otherwise, the real modus operandi of aesthetics is "what is the cash value?"
1. the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art, and the principles underlying or justifying such judgments.
2. the study of the mind and emotions in relation to the sense of beauty.
I'm not really sure how much science is involved. Like eo mentioned, "the cognition people are making it up as they go along."
07071801 Le Composites plans 2380i01 2177i10
07071802 Le Composites elevations 2380i02 2177i11
07071803 Domesitc Museum plan collection 2170i21 2166i22 2170i21
07071804 Domestic Museum site plan 3713i04 b
The Philadelphia School, deterritorialized
I just went to vsba.com and found out that Robert Venturi is now retired from practice and Denise Scott Brown is remaining busy publishing and exhibiting her work. Now see venturiscottbrown.org.
I'm sitting here feeling a very real deterritorialization.
13071801 Almost Semiquincentennial House model perspectives axonometrics 2426i03
13071802 New Not There City World Trade Center model perspectives 2427i01 b
...some Borges, some Capote, some Quondam
"A labyrinth of symbols," he corrected. "An invisible labyrinth of time."
"...I questioned myself about the ways in which a book can be infinite. I could think of nothing other than a cyclic volume, a circular one. A book whose last page was identical with the first, a book which had the possibility of continuing indefinitely."
I have taken on the mysterious duty of reconstructing literally his spontaneous work. My solitary game is governed by two polar laws. The first permits me to essay variations of a formal or psychological type; the second obliges me to scarifice these variations to the "original" text and reason out this annihilation in an irrefutable manner...
Some years earlier, Lillian Ross had published Picture, her account of the making of a movie, The Red Badge of Courage; with its fast cuts, its flash forward and back it was itself like a movie, and as I read it I wondered what would happen if the author let go of her hard linear straight-reporting discipline and handled her material as if it were fictional--would the book gain or lose?
...I wonder what would happen if the architect let go of his straight-curating discipline and handled the material as if it were fictional--would the museum gain or lose?
I understand you are staying at the new hotel. La Bataille. How do you find it?
Very pleasant. In a bit of turmoil because they are in the process of opening a casino. The man in charge of the casino is called Shelley Keats. I thought it was a joke at first, but that really happens to be his name.
Marcel Proust works at Le Foulard, that fine little seafood restaurant in Scheolcher, the fishing village.
Semiquincentennial: an almost novel architectonics
Miers Fisher Jr. and Helen Gregoroffsky reunited
15071801 Girard Trust Dresdner Bank legacy plans models 2263i08
15071802 Girard Trust Dresdner Bank legacy plans models 2263i09
15071803 Girard Trust Dresdner Bank legacy existing buildings plans models 2263i10
15071801 Kazuyo Sejima Nakamachi Terrace Library Kodaira
16071801 IQ58/07 Karastan Pruitt-Igoe Maison à Bordeaux Maison Millennium 001 Palace of Ottopia House for Otto 3, 4, 5 Savoye Hystérique Courthouse Plus Ultra Savoye Shadows Annexation Villa + 15 Villa Appositional plans 6458i08
16071802 IQ58/07 Karastan Pruitt-Igoe Maison à Bordeaux Ur-Ottopia House Palace of Ottopia House for Otto 5, 6, 7 Maison Millennium 002 Villa Skeleton Good-Bye House Sober House 2 House of Shadows Bye Gooding Trice House Gooding Trice Villa Trivilla Savoye Villa Plus Ultra Courthouse Plus Ultra Villa Savoye Shadowed Savoye Shadows Annexation plans 6458i09
17071801 Seattle Central Library plans sections to scale 2341i02
18071801 Palace of Versailles and Park working plans image 2092i35
18071802 REMs wireframe/opaque models 2470i19
18071803 surfaces collection New Atheneum etc models 2470i20
19071801 Johnson Estate Painting Gallery schematic plan site plan Glass House plan image 2171i03
19071802 Johnson Estate Glass House Painting Gallery plans site plan image 2171i04