11 October

1774 birth of Peter von Nobile

1811 John Rennie begun the Waterloo Bridge, London

Glencairn     1939 3998j
1998.10.11

contents of the Working Title Museum...
2002.10:11    

Architecture Not Now
2003.10.11     3899m

Jimmy Venturi's new website...
2005.10.11 11:50     3770k 3794b

Arch Stamp or Butt Plug???
2006.10.11 19:43     3336q
2006.10.11 19:50     3336q

What Happened To The Gutter
2006.10.11 19:48     3336q

Tramps like Theo Jansen
2007.10.11 11:17     3334q 3749m

GREEN porn
2007.10.11 11:39     3334q 3753

Positive notes
2007.10.11 12:24     3334q

Decadence in New York
2007.10.11 15:08     3334q
2007.10.11 18:15     3334q

The Vanity Press
2007.10.11 15:17     3334q
2007.10.11 17:54     3334q
2007.10.11 20:04     3334q

Did deconstruction turn into blobitecture some time in the 90's?
2011.10.11 08:36     3331l 3749u 3771d

ARCHIPELAGOS: Ungers vs. Rowe
1912.10.11     3330d

Architecture Art and Earthquakes
2013.10.11 15:31     3749y

Flint Flat Lot: What won and what got built.
2013.10.11 17:12     3749y

The Sydney Opera House by J°rn Utzon Celebrates Its 40th Anniversary
2013.10.11 18:59     3749y

11 October
2014.10.11 21:44     3309q 3754k

11 October
2015.10.11 17:21     3312w 3710r 9006v

Kazuyo Sejima & Associates   Renewal of City Culture Hall   Shizuoka



2007.10.11 11:17
Tramps like Theo Jansen
The reenactionary aspects of the process/work--"emulate natural selection"--are expertly represented. Is terrestrial locomotion really then a 'trickle-down effect' of increasingly larger global and cosmic motions? Is life itself some almost inexplicably autonomous interface/machine between terrestrial and cosmic forces (initiated by a big bang)?
Makes me wonder how one might go about designing a 'beast' that interfaces the act of visual perception.
OR
Are Sand Beasts like a well crafted publicity machine? Produce a work and then get some publicity wind behind it and watch it go (on forever?).
"So what does it do?"
"Why it generates publicity, of course!"


2007.10.11 11:39
GREEN porn
I loved trash day when I was a kid. Once a week the block-long driveway in the back became like another world where lots of stuff was somewhat neatly assembled at each house and essentially free for the taking. Trash-picking is so ur-recycling and the whole communal process was like some proto modern art installation/performance. And then the big truck came and gobbled everything up--a true finale. And then it was like suddenly all quiet (until next week).
the sequel: What a Dump!

2011.10.11 08:36
Did deconstruction turn into blobitecture some time in the 90's?
Personally, I find architecture's continual / simultaneous diversity of directions fascinating. If you look at architecture on a global scale and throughout history, there's never been just one direction at any given time, rather many simultaneities.
Deconstructivism did not stop where Blobitecture began. Right now, Blobitecture and Deconstructivism are still sharing a simultaneity along with a fairly wide range of other types of architecture.


2013.10.11 15:31
Architecture Art and Earthquakes
It seems that the Bennesse Art Site is more [about] muse[um]ification "has saved the day" rather than "architecture has saved the day."
"The impossibility of using has its emblematic place in the Museum. The muse[um]ification of the world is today an accomplished fact. One by one, the spiritual potentialities that defined the people's lives--art, religion, philosophy the idea of nature, even politics--have docilely withdrawn into the Museum. "Museum" here is not a given physical space or place but the separate dimension to which what was once--but is no longer--felt as true and decisive has moved. In this sense, the Museum can coincide with an entire city (such as Evora and Venice, which were declared World Heritage Sites), a region (when it is declared a park or natural preserve), and even a group of individuals (in so far as they represent a form of life that has disappeared). But more generally, everything today can become a Museum, because this term simply designates the exhibition of an impossibility of using, of dwelling, of experiencing.
Thus in the Museum, the analogy between capitalism and religion becomes clear. The Museum occupies exactly the space and function once reserved for the Temple as the place of sacrifice. To the faithful in the Temple--the pilgrims who would travel across the earth from temple to temple, from sanctuary to sanctuary--correspond today the tourists who restlessly travel in a world that has been abstracted into a Museum."
Giorgio Agamben, "In Praise of Profanation" (2007).
In more than a few ways, the sentiments of the quotation relate directly to the (objectives of) the Bennesse Art Site, where even the (new) architecture now carries the added function of being a 'museum piece'. This is not to negatively criticize for what the art site is doing, but to bring what it's doing into finer focus.
Muse[um]ification (and the tourism that comes with it) may indeed become more and more a solution to the types of problems places like Inujima present. And then, beyond that, that is once the muse[um]ification has taken place, "The antidote then may well be to simply use museums."

2013.10.11 17:12
Flint Flat Lot: What won and what got built.
I actually took the time to look at the photos offered, and I enjoyed looking at them, especially because they all seem very objective, i.e., very close to the reality--sometimes the structure looked to have it's intended effect, and sometimes it didn't; the unintended waviness of the surface, however, more often than not detracted from the mirror/reflective effect. What I did not expect was that the site itself is such a dud.
Did this project want to emulate the Kapoor mirror blob thing in that Chicago park? That's what I thought when I first read this thread. Kapoor's piece in Chicago probably cost a lot more than $25,000.
Funny, too, most of the architectural world wouldn't even know of the structure in Flint if it hadn't gone all wavy. Better yet, wouldn't it be great if the architects started having a very lucrative business designing wavy-mirrored houses?
"There's no such thing as bad publicity."


2013.10.11 18:59
The Sydney Opera House by J°rn Utzon Celebrates Its 40th Anniversary
...I've come to realize that the Sydney Opera House is for sure one of the greatest works of architectural hyperbole.


14101101   Kazuyo Sejima & Associates   Renewal of City Culture Hall   Shizuoka

15101101   Hadrian's Villa plans images IQ positions   206ki06   b   c


17101101 Palace of Versailles and Park plans image   2092i6
17101102 City Tower elevation plan   217di02
17101103 Palace of Assembly plans section elevation   2176i02
17101104 Monastery of La Tourette plans section   2178i06
17101105 Villa Ó Garches plans section elevations   2151i10


18101101 IQ15 hyperarchitecturism Analogous Museum of Architecture Acropolis of Contemporary Art ASouq Neighborhoods House for Karl Friedrich Schinkel 004 House for Karl Friedrich Schinkel 001 Dresdner Bank Housing for La Villette Wallraf-Richartz Museum Breslauer Platz Leicester University Engineering Building Ichnographia Campus Martius Philadelphia Tempietto Baths of Constantine Stonehenge plans   247bi05
18101102 IQ15 hyperarchitecturism Analogous Museum of Architecture Acropolis of Contemporary Art ASouq Neighborhoods House for Karl Friedrich Schinkel 004 House for Karl Friedrich Schinkel 001 Dresdner Bank Housing for La Villette Wallraf-Richartz Museum Breslauer Platz Leicester University Engineering Building Ichnographia Campus Martius Philadelphia Tempietto Baths of Constantine Stonehenge plans   247bi06


19101101 Robie House Whitemarsh Hall Philadelphia Museum of Art Maison La Roche-Jeanneret Schr÷der House Pavilion de l'Esprit Nouveau Bauhaus German Pavilion Villa Savoye Tugendhat House Casa del Fascio museum collecting plans elevations   2138i09
19101102 Bauhaus plan elevation   2149i03
19101103 German Pavilion plan elevation   2152i07
19101104 Casa del Fascio plan elevation   2161i04



2014.10.11 21:44
11 October
[2007.07.03 Just got a 1823 edition of Durand's PrÚcis des lešons d'architecture this past Saturday, and seeing it now next to Hejduk's books inspires a comparative reenactionary analysis.]



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