I'm (spot) reading Hilde Heynen's Architecture and Modernity (MIT Press, 1999). Hilde was a member of NeTHCA's (Network for Theory, History and Criticism of Architecture, Belgium) scientific committee which selected my paper for INSIDE DENSITY. Hilde was also a key organizer of INSIDE DENSITY, and she recognized reenactment as a powerful concept. Her book towards the end deals with mimesis, and I now see further how mimesis and reenactment cut a similar profile, but I also see how the concept of reenactment potentially manifests an annexation of mimesis.
"Elegance", Aesthetics and Formalism
You might be interested to read:
Christian Norberg-Schulz, "Kahn, Heidegger and the Language of Architecture" in Oppositions 18 (MIT Press, 1980).
Robert Venturi, "Context in Architectural Composition", in Iconography and Electronics Upon a Generic Architecture (MIT Press, 1996). "Context in Architectural Composition" is a reprint of Venturi's M.F.A. thesis project from Princeton 1950. An exerpt from the 1996 introduction to the thesis:
"I include this work because its subject, context in architecture, represents almost a cliche in our field and because the origin of this idea has become almost forgotten: a Philadelphia architect, for instance, recently confidently referred to context as an architectural element that evolved in the seventies. But I vividly remember my Eureka-like response in 1949 when I came across the idea of perceptual context in Gastalt psychology as I perused a journal of pshychology in the library in Eno Hall at Princeton and recognized its relevance for architecture..."
Piranesi Prison dates, etc.
In "Notes From Underground" Berman incorrectly dates the Imaginary Prisons of Piranesi. Instead of 1745 for the first state and 1761 for the second state, 1749-50 is the correct date for the first state, as is 1761 for the second state. Thus Piranesi was between 29 and 30 years old when he first published the Invenzioni Capric. Di Carceri (Fanciful Images of Prisons).
Relative to Piranesi's other publications up to 1749, it is interesting to note that the Carceri are not dedicated and/or not commissioned, meaning they are works executed of Piranesi's own volition (a relative rarity in Piranesi's complete oeuvre). Moreover, it is worth comparing the Carceri with Piranesi's first published work, the Prima Parte Di Architetture (Part One of Architecture and Perspectives: Imagined and Etched by Gio. Batt.a Piranesi). The Prima Parte, published in 1743 when Piranesi was 23 years old, can easily be considered Piranesi's initial design portfolio.
Observed together the Prima Parte and the Carceri manifest a double theater where the first "play" is inversely reflected in the second "play". (Note too that the second "play" comes with two "acts".)
I don't like having to do this (because it implies that some editor is not really doing their job), but it must be pointed out that Joseph Rykwert made (at least) one factual mistake within The Seduction of Place (2000). On page 150, Rykwert states:
"The attempt to provide a mimetic "condensation" of another place and time is not new. Centuries ago pilgrimages to remote and sacred places were replicated for those who could not afford to leave home. The fourteen [S]tations of the [C]ross, which you may find in any Roman Catholic church, are a miniaturized and atrophied version of the pilgrimage around holy places in Jerusalem."
The above is complete misinformation. The Stations of the Cross do not represent a "pilgrimage around holy places in Jerusalem." The Stations of the Cross are a ritual reenactment of what Christ experienced on the day of His crucifixion.
Interestingly, the example that Rykwert should have put forth is that of Santa Croce in Gerusalemme, the church in Rome built within the Sessorian Palace, the imperial home of Helena Augusta, which today houses Christianity's most valuable relics (of the "Stations of the Cross"). Additionally, Santa Croce (which means Holy Cross) is built upon ground brought back by Helena from Golgotha, site of Christ's crucifixion. Santa Croce is indeed one of Rome's primal pilgrimage churches.
Re: TX2/Plato's Spelunking
...wondering if there are other "memory places" being created out there.
011204a origianal Santa Croce in Gerusalemme model 2070i02
011204b origianal Santa Croce in Gerusalemme perspective 231ai20
1. the notion of a publication entitled Post-Quondam Architecture which comprises crazy model collisions, etc.
041204a Romaphilia Philadelphia street grid
07120401 Girard Collage preliminary site plan
07120402 Housing at La Villette partial elevation
07120403 Girard Collage preliminary model
How can architects help the Gaza strip people?
Creativity is not inherently metabolic because creativity can just as well operate assimilatingly (or osmoticly, or conceptionally, or with omni-frequency).
Imagine how different Israel would be if it operated assimilatingly rather than metabolically.
Imagine how different Israel would be if it operated osmotically rather than metabolically.
Imagine how different Israel would be if it operated conceptionally rather than metabolically.
Imagine how different Israel would be if it operated with omni-frequency rather than metabolically.
How can architects help the Gaza strip people?
Again, I never wrote about the metabolic nature of creativity (as if all creativity were somehow metabolic). I wrote about the dual, creative/destructive operation of the metabolic process, and, hence, the dual, creative/destructive operation of the metabolic imagination. But never did I infer that then all creativity stems from the metabolic imagination.
13120407 IQ07 composite plan data