23 December

1853 death of Achille François René Leclère

merge building models
1997.12.23     2093 3142 3204d 3705c 3724b 3730b 3990 6101j 6199 7801

[hyper]murals @ the Altes Museum
1997.12.23     2120c 3142 3724b 3730b 3745q 5022

Campo Marzio introduction
1997.12.23     4004p

other Quondam branches
1997.12.23     224a

I was doing Stella, frankly
1999.12.23 15:53     3247

Do dictionaries help us understand?
2000.12.23     3654c 5006

"Style Besides Sorrow"
2001.12.23     3736k

shock in Philadelphia
2001.12.23 12:00     3728e 3744b

Re: Void to Avoid
2001.12.23 12:00     4403g

Deshler-Morris House     1773
P.S.F.S Logan Branch     1926

01122301.db ICM, plans

What's good in your hood
2005.12.23 15:51     4011j

Jimmy Venturi's new website...
2005.12.23 16:06     4000d 4164

pragmatists turning political?
2008.12.23 20:29     2195 3726c 3770x

23 December
2012.12.23 16:31   2305c 3300t
2012.12.23 17:30   2305 3300t

23 December
2013.12.23 19:47   e2527a e3016e 3228k 3307 3744d 3771k 4711h

Art vs. Arch.
2016.12.23 12:27     3314v

I'm now wondering whether the above image of Castle Howard from Vitruvius Britannicus (published 1715-1725) somehow inspired the architecture of Piranesi as delineated within Il Campo Marzio (1762). Remember the...

I was prompted by the "what is experimental architecture" thread to look again at "Piranesi's Campo Marzio: An Experimental Design." After reading a few pages it became evident that the essay/project could be 'rewritten' to deliver a whole other set of results, a whole other 'history.'

By covertly publishing the Ichnographia in a second state was Piranesi himself conducting an experiment to see who would ultimately discover the two different plans?

Piranesi's language of the plans relates back to the origins of Rom(ulus and Remus) itself.

"Both Piranesi's Campo Marzio and Picasso's Dame au violon are "projects," though the former organizes an architectural dimension and the latter a human mode of behavior. Both use the technique of shock, even if Piranesi's etching adopts preformed historical material and Picasso's painting artificial material (just as later Duchamp, Hausmann and Schwitter were to do even more pointedly). Both discover the reality of a machine-universe: even if the eighteenth century urban project renders that universe as an abstraction and reacts to the discovery with terror, and the Picasso painting is conceived completely within this reality.
But more importantly, both Piranesi and Picasso, by means of the excess of truth acquired through their intensely critical formal elaborations, make "universal" a reality which could otherwise be considered completely particular."
Manfredo Tafuri, Architecture and Utopia: Design and Capitalist Development, p. 90.

There is no Picasso painting with the title Dame au violon, but it is possible that Tafuri is referring to Portrait of a Girl (1914):

Project: redraw the Ichnographia Campus Martius following the principles of Picasso's (Synthetic) Cubism.

01122301 ICM various plans   2110i49

2008.12.23 20:29  
pragmatists turning political?
I'm using "reenactionary" more in terms of how ZP's designs 'reenact' the mat/box/blob paradigm of Le Corbusier's Electronic Calculation Center Olivetti at Rho-Milan. Although intrigued by ZP's 'new politics of the envelope' I'm not sure 'politics' is the right word to describe what it's really about, but it might just be right.

ZP notes how in the past it was in the plan where 'politics' was found, whereas he now see the politics in the envelope, and there seems to be something to that. Just recently I looked closely at the plan of the Palace of Versailles (when I was also reading ZP's essay in Log), and besides the political implication of the King's Bedroom on axis in the center, the similarity in plan of the Chapel and the Opera off to the side respectively got me thinking not just of their relative marginal positions, but how both plans represent 'theaters'. Anyway, if ZP's politics of the envelope can operate/communicate in the same type of way, it seems that would make for a novel/fecund design methodology.

11122301 UNEP Headquarters axonometrics scale play

12122301 House for Otto 3 wall and column extrusion capped IQ03

13122301 rotated extruded mesh surfaces orthagonal solid models

14122301 Villa à Garches 1100x550 plan Pruitt-Igoe/NNTC
14122302 Composition Three 1100x550 plan Pruitt-Igoe/NNTC
14122303 Picasso's Portrait of a Girl trace for cubist ICM
14122304 Kennedy Plaza 1100x550 plan image attached




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