Re: Seen and Not Seen
"Seen and Not Seen" immediately brought to mind a provocative passage I read just a few nights ago:
"Le Corbusier's first important building after the war was the studio residence he built for Ozanfant in Paris in 1922. In the following year he published his famous book Vers un Architecture. Probably the most influential architectural book of its generation, its contents add remarkably little to what Violette-le-Duc said in his lectures exactly sixty years before. The beauty of the machine, the importance of geometrical control in the creation of design, the stupidity of academic tradition, the lessons of the past in precision and logic--all these are topics which Violette-le Duc had dealt with. But in Le Corbusier the emphasis is, of course, very different. He is able to put the car, the air-plane and the liner in the foreground of the picture; he insists far more vehemently on the way in which engineering has leapt ahead of architecture and he coins the phrase 'la maison--une machine a habiter'. His technique, too, is lighter and faster, adapted to an age of headlines and headlights. And there is one subject he deals with at some length which would have been perfectly strange to his great precursor--the subject of factory-built houses."
--John Summerson, "Architecture, Painting and Le Corbusier" in Heavenly Mansions and other essays on architecture (1963), p. 188.
I wanted to copy the passage anyway, and now it's with even more implications.
atemporality at work?
The only architectural collage actually in the book Collage City is the frontispiece:
David Griffin and Hans Kolhoff, City of composite presence (1978).
Also, Daniel Libeskind's student collages from Cooper Union:
First published within Education of an Architect (1971).
14110601 Electronic Calculation Center Olivetti plan work
14110602 Leicester University Engineering Building upper plan
14110603 Mausoleum of Constantina plan work scan plan scan plan
14110604 Gallery B plan
14110605 Gallery B model