6 October

1499 capture of Milan by Louis XII

1527 Antonio Abbondi succeeded Santo Lombardo as proto-maestro of the Scuola di San Rocco

1795 birth of Guillaume Abel Blouet

1887 birth of Le Corbusier

Battery Park City     1986 3709

1997.10.06     e2749a e2933 e3003

excerpts from Procopius
1998.10.06     e289a

Re: architectural photography
2000.10.06 15:30     3749c 4013x

Subsequent Steps: The Architecture of Reenactment

Re: CongressCATH 2004: Philosophy of Architecture/Architecture of Philosophy
2003.10.06 14:11     3142c 3704b 3705i 3724c 3730g 3749f 3789c

Mixing Design Elements of Different Style Homes-Your Opinion
2008.10.06 10:39     2303 3705n 3710d 3747j 3749p 3762 3770w
2008.10.06.14:10     3747j 3770w

Examples of modern exterior with traditional interior
2009.10.06 15:59     3703d 3705o 3710e 3749s 3899q

6 October
2013.10.06 11:35     3305l 3703k 3732c 3749y 3771h 3773n 3780d 3785h

Help identifying the style of this house!!!
2014.10.06 14:28     3747o

Architecture Without Reference
2016.10.06 11:34     3314q
2016.10.06 12:27     3314q
2016.10.06 19:52     3314r
2016.10.06 20:40     3314r
2016.10.06 21:23     3314r

Stephen Lauf, Battery Park City (pencil on yellow trace paper, 1986.10.06), schematic site plan.

2013.10.06 11:35
6 October
Read earlier: "...locale and history have simultaneous real and fabled coordinates, anchored both in actuality and in the archetypes of innocence and experience, paradise gained and lost... ...the reader enters a fictive world with its own unique operating principles, in which past and future conjoin to form a continual present in which the extraordinary meet the commonplace to defamiliarize and release an aura of strangeness and wonder... ...traditional oppositions--realism and fantasy, fact and illusion, history and myth, reason and irrationality--coming together in a complex of significance."

Horace Trumbauer, Whitemarsh Hall (Wyndmoor, PA: construction complete, 1920.10.06)

2000.10.06 15:30
Re: architectural photography
I think architectural photography is extremely valuable when the architecture in photographs no longer exists but in photographs.
Just over three years ago I went to photograph Venturi & Rauch's big BASCO 'sign' building. The building was then derelict, and I took many 'unflattering' snapshots, e.g., lots of empty beer bottles and a plump vinyl lounge chair providing an interesting domestic tableau just behind the big 'A'. Alas the film did not develop at all, and hence no photographic record and just a memory for me. Almost exactly a year later I returned to BASCO to take pictures again, however, the big letters were that time completely gone. I turned out to be the person informing Venturi's office of the loss.
The point is that 1) many buildings today change radically in short periods of time, therefore ALL photographic records (not just the flattering ones) are important items in understanding the 'life' of architecture most fully, and 2) a photograph of a building that once was but is no more is perhaps the easiest form of virtual architecture invented thus far.
...I add that architectural imagery (photography, photocopy, digital records, etc.) today is very cheap, meaning the notion of capturing a building in the perfect 'light' is nothing more that creating a fetish, an ideal that is forever virtual and definitely not real. You might say that more than anything architectural photographs have patently deceived many viewers (architects/critics) into believing the photograph is the reality.

2003.10.06 14:11
Re: CongressCATH 2004: Philosophy of Architecture/Architecture of Philosophy
from the call for papers:
"In particular the conference will examine contemporary architecture (so-called postmodern or deconstructive architecture), which as a practice seems to perform the insights of postmodern theory, and the architecture of the museum and the museum of architecture and the Architectural Archive. Here the conference would like to explore debates around the creation of museum spaces and the relationship between collections, interpretation, meaning and space."
from the back cover of Lotus International 35 (1982):
The museum of architecture
It's no longer possible for a contemporary architect to resolve the complex thematic of the museum in the typological conception of a building. Museum architecture, on deeper investigation, is transformed into a reflection on the museum-making of architecture itself.
We can find the prototypes of this phenomenon in the first collections, in the house-museum, in the first archaeological excavations, limited phenomenon which gradually spread until they became a program of exhibition organization throughout the world with the great exhibitions of the start of the century.
Today, in fact, they look to us as a colossal project of museum-making, even if with the aim of instructing. But the world which is given back to us like a still life in the museums, all of the works, the image, the production of varied ages and places is only a universe of melange, a metaphor of the living world the disorder of which is brought back to mind in the "magnificent chaos of the museum."
[The entire issue of Lotus International 35 is devoted to "the museum of architecture" theme.]

051006a.db museum designs, plans

2008.10.06 10:39
Mixing Design Elements of Different Style Homes-Your Opinion
forget utopian and go ottopian

2009.10.06 15:59
Examples of modern exterior with traditional interior
somewhat akin to the Getty...

REX, Munch Museum, 2009
The compartmentalized approach leads to any number of mix-up possibilities.

Level 1: lobby, bar. restaurant, spa, fitness, banquet rooms. OMA and Herzog & de Meuron, Hotel Astor Place, 1999.

SL, Mayor's House, 1990.

14100601 Salk Institue plan section scaled
14100602 Richards Medical Laboratory Building plan elevation scaled
14100603 Circle Squared Museum @ Kahn's grave House for Otto 9&10 NE Philadelphia NNTC context

15100601   Museum for Nordrhein Westfalen site plan Roma Interrotta Sector IV   2226i24   b



3705h 3705s 3770f c0109

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