29 September

1266 contract for the great pulpit of the cathedral of Siena signed

1518 birth of Tintoretto

1640 birth of Antoine Coysevox
1686 birth of Cosmas Damian Asam

1703 birth of François Boucher

1833 birth of Henri Michel Antoine Chapu
1838 birth of Henry Hobson Richardson

the formula in words
1999.09.29 18:35     206gb 2120e 2156 2165 2198 2227 3123c 5401b

Storefront for Art and Architecture     1993
Ground Zero     2001a 5600j

Koolhaas @ In Your Face
2001.09.29     2001

Olafur Eliasson’s Your Colour Memory
2004.09.29 12:16     3727d

Architect: Endangered Species
2005.09.29 11:35     5000c

Modern crisp pitched roof
2005.09.29 12:58

Dark Ages
2005.09.29 14:20     4403i

On Formalism and Reenactment
2008.09.29 19:00     4702

Le Corbusier turning recombinant
2010.09.29     217i 2195 2196 2198 3204f 3730j 5401e

LA's redesigned Petersen Automotive Museum: so bad the public will love it?
2015.09.29 12:08     3312r 4600s 780aq
2015.09.29 16:59     3312r
2015.09.29 21:02     3312r

Herzog & de Meuron's concept for new Vancouver Art Gallery released
2015.09.29 20:51     3312r 4600s 7700q

How to paint an architect
2016.09.29 15:17     3314q


1999.09.29 18:35
the formula in words
Both the Villa Savoye and the Palais des Congrès are essentially boxes raised on pilotis with a continuous ramp connecting three distinct levels. All three levels in each building and their relationship to the ongoing ascent of the ramp are part of the promenade formula. The lowest level, under the raised box, is symbolically the most mundane, and here Le Corbusier enacts a forest of pilotis within which the perimeter of the building is recessed--significantly, the entry point and the beginning point of ascent (ramp) are nearly synonymous. As one begins moving through the buildings, one is also ascending. The second level, the box, symbolizes the realm of limbo, the in-between, part inside and part outside. For Le Corbusier, this is realm where we live (Savoye) and where we gather (Congrès). Ultimately, the ramp in both buildings raises us to the garden on the roof in the realm of the sky. For Le Corbusier, this is architecture's goal, this is where architecture should deliver us.
What makes this formula even more interesting is that it is evident in other buildings, by architects other than Le Corbusier, and both after and before Le Corbusier's time. First I found the very same formula implemented in Stirling/Wilford's Wallraf-Richartz Museum, Cologne, 1977. Just as Le Corbusier elaborates and distorts the formula late in his life within the design of the Palais des Congrès, Stirling too further distorts the promenade route at Cologne. Then, after several years, I found the same promenade architecturale formula within Terragni's Danteum, and here the formula is even more clear, both symbolically and formally--first the forest, then the dark concentrated interior of the Inferno, then the inside-outside realm of Purgatory (limbo), and finally Heaven with its invisible columns and invisible roof. Again, an ongoing passage of ascent leading to an ultimate goal. From here I now see the promenade architecturale formula present in Schinkel's Altes Museum, Berlin, the Pantheon in Rome, and even along the via Triumphalis as delineated by Piranesi within the Ichnographia Campus Martius.

2005.09.29 12:58
Modern crisp pitched roof

09092901 ICM

13092901 Parthenon column plan elevation model
13092902 Parthenon column at Altes Museum elevation
13092903 Porticus Septorum Juliorum Porticus Vipsania Porticus Quirini Porticus a S.P.Q.R. Amoenitati Dicata Porticus Alexandri Severi Altes Museum plans

15092901   NNTC01 grid block infill   2413i37




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