Future Trends in Architecture
It is indeed sad to see such a perfect example of "theory into practice" architecture relegated to the virtual existence of photographs.
Perhaps one lesson to learn here is that whenever architectural design is so closely tied to commercialism and consumerism, then its fate as something fleeting is almost guaranteed.
Perhaps it will be unlike anything on earth, as B. boldly suggests, it may exist only the electromagnetic spectrum, the bandwidth beyond human comprehension as we perceive it, that is until we are reeducated from the ground up to see architecture that hovers, moves at the speed of light, appears and disappears as fast an on/off gate, is indistinguishable from humans who once "inhabited" it as other.
Can anything other than light travel at the speed of light? Would those electric waves of radiation and those magnetic waves of radiation that compose light be light at any other speed? Doesn't being at the speed of light pretty much make everything else incidental?
Tad Hertz, Coming Apart at the Seamless: dissecting architectural superficiality, 2008.09.11.
Future Trends in Architecture
...Unthinking an Architecture [book] . . . the act of unthinking architecture allows . . . [a] free, spontaneous, and facile . . . modus operandi . . . utilize all the resources . . . as freely as possible.
...scale-rotate manipulation of the model collection . . . (the title could be Arbitrarily Unthinking an Architecture.) ...extrude portions of building plans that have been arbitrarily moved around in 3d.
An architectural Ulysses?
In "Remembering to Forget" one learns that damnatio memoriae actually did more to make people remember than it did to make them forget. Officially and literally, the memory was erased, however, the act of erasure itself, like the scar that it is, only reinforces the real reality that once was. Yes, erasures ironically are very full of meaning...
So which is the most valuable aesthetic when it comes to architecture?
Is 'what a building really is' that which is most valuable in terms of being the harbinger of architectural aesthetics?
Is the real harbinger of aesthetics the way in which architecture is presented (which is largely separate from the building itself)?
Is architectural aesthetics really only that non-tangible (or at least non-built) apparatus that sets up the presentation (of the image) and in turn more or less subliminally sets up the platform of appreciation within the minds of those receiving the image?
It has also been written that "Less is a Bore."
Correct me if I'm wrong.
Regarding Mies, however, it is true that less [walls] is more [windows]. Very 20th century!
Very 23rd century: less assimilation is more metabolic.
Maybe Roma Interrotta is really just still going on.
It is possible for an 'architectural idea' to become the parti, but that does not mean that 'architectural idea' and parti are the same thing.
trace, you seem to have missed the fact that my example had nothing to with composing a thesis statement. Apropos this thread, my example had to do with the establishment of an architectural idea.
Personally, I see the notion of "architectural idea" as something distinct from "design concept" or "design methodology" or "design ideology" or even "thesis statement". For example, promenade architecturale is an architectural idea, like Le Corbusier's '5 points' are an architectural idea. Mat or box or blob or a combination of all three are architectural ideas. As per inspiration from team 10 primer, 'building as threshold' is an architectural idea.
"As an architecture student, I have found this book to be a valuable resource in terms of idea generation and development of design concepts. My professor, who practices architecture and makes use of the book on a professional level, recommended it to my classmates and I - I have used it ever since. Not only does it link terms with architectural concepts developed by well known and celebrated designers, it includes a number of interesting colour images. I highly recommend this to design students and professionals in any field, especially architecture. Happy reading!"
"I read and annotated an uncountable number of pages in this dictionary. Some people would say it is not easy to digest such a book in the literary way : IT IS A DICTIONARY !!! It has so many fresh ideas and concepts, you will never get such a dense concentrate of inspiration by subscribing to any architecture magazine for a year.
It is a massive book, and it is an incredible source of references, it is precious for anyone doing research (theoretical, applied), looking for inspiration to create forms, new relations. It just blew my mind, changed my vision on what architecture, urbanism, social sciences can be. Open any page, you will be surprised and inspired."
like $48 at amazon
my own approach (back in 2007 when I was self link: the future)
Q: I need suggestions from all u guys for my thesis. I have choosen 3 topics for my thesis but not able to make up my mind . The 1. marine architecture and the 2. hi tech airport 3. stage design. I want to do some thing creative and different but dont know which is advisible.
A: I suggest you pursue all three topics in one--a marine architecture hi tech airport designed to make everyone feel like they're on stage. Throughout this great hybrid machine of floating uplift and notoriety are virtually infinite opportunities to globally link oneself.
I wasn't at first entirely sure why, but my immediate thought (as response) was "look at team 10 primer." Maybe it's because that's the book I was told to read when I was in first year (1975-76). After a quick glance through it now, it's seems perfectly fair to say the whole book is exactly about exploring architectural ideas and developing architectural ideas.
Architecture and Reproduction
Quondam's Fifteenth Anniversary
Random Tangents Culture
I suspect Network Culture grew as quickly as it did because the field was already a fertile Random Tangents Culture.
Read this morning:
"...his "visible form" is based on the sensuous experience that emerges only as one moves round and through a building, that changes with ever step, and is effected by the position and intensity of the light sources. In earlier criticism, buildings had been characterized from the point of view of an observer standing motionless and looking at a façade or an interior from the position of a photographer might choose to obtain the most favorable single view. Frankl's innovation reconstructs the kinetic experience of the observer who arrives at a single image as the product of many partial images.
James Ackerman, "Forward" in Paul Frankl's Principles of Architectural History.
calendrical coincidence - culture - quick deletion - almost just as quick reconstruction - random tangents
Noticed this morning (for the first time I think):
Wolf Meyer-Christian, Design for architectural museum in Berlin (1964)
Michael Wagener, Design for architectural museum in Berlin (1964)
in Heinrich Klotz, The History of Postmodernism (1984/1988).
These are student designs from Unger's seminars at the Technical University in Berlin between 1963 and 1968, "they exerted international influence when they appeared in a series of brochures (starting 1965) edited by Ungers. Both designs incorporate the Villa Calandrelli (the Villa Calender?!?), and this adjacency feature reminded me of Stirling's Science Center in Berlin (which I also see as a virtual museum of architecture).
Right around now 10 years ago I received OMA/AMO Rem Koolhaas, Projects for Prada Part 1 in the mail. Along with documentation of one of my favorite (random tangents) building designs--Prada Epicenter Store, San Francisco--there is note of "Content Database" and "Ubiquitous Display" and "Media Stage".
metabolic slash delivery, etc.
In the recent Barbara Flanagan article in Metropolis on Venturi and Scott Brown it states:
And when Venturi envisions an electronic "facade of glittering information," the inevitable political question (what does it say and who decides?) can be a vexing one. "What the message is I don't know, and I'm not too ashamed of not knowing," Venturi says. "Content is not the architect's job."
I think Venturi here admits his most present flaw, and even goes on to make a big mistake about the future. As the architect of the first online virtual museum of architecture, I see content as very much the job of the architect.
Can it be said that precisely attacking flaws engenders paradigm shifts?
Kind-of like going into a black hole and then being in the other side.
How many "facades of glittering information" do you look at everyday? How many of those facades are designed by architects?
Quondam's Fifteenth Anniversary
Thanks you two.
A lot has changed in fifteen years, and that's more or less the point of this thread. Yesterday, while starting to go through all my notes and letters to compile a "dossier Museum collecting" I came across the first time there was mention of a 'homepage' and then I noticed the date was exactly 15 years ago. I wouldn't have posted anything here were it not for the calendrical coincidence. At this time back then I didn't even have a computer with a browser--I was waiting on delivery of a new computer--so I wasn't even really sure what 'homepages' looked like (except for image examples in PC Computer magazine (or whatever it was called). Anyway, Quondam's (the name also didn't exist yet till sometime September/October 1996) official online anniversary is 21 November 1996, when the first person other than myself visited the website.
It's kind of ironic that all the 'research' I was doing back then to create a website was done without even using the web--I bought a book on 'homepages' and html and was busy reading computer magazines.
I'm gonna try to keep up the postings here as the calendrical coincidences occur.
Oh, and what do you suppose the difference is between Culture and Random Tangents? Could it possibly be that one is actually inferior to the other? Now that I think about it though, culture today is nothing but random tangents.
Quondam's Fifteenth Anniversary
I have decided on a document centering on James Stirling's three masterful interpretations: the Stirling/Le Corbusier Olivetti projects, the Düsseldorf / Altes Museum connection, and the Cologne promenade architecturale. This will be a very full document featuring four virtual buildings (Düsseldorf, Cologne, Stirling Olivetti, Le Corbusier Olivetti). Schinkel's Altes Museum and the Le Corbusier architectural promenade buildings will be featured but not documented.
The secondary point of the document is to exhibit a largely undisclosed circle of design influence and intentions between Schinkel, Le Corbusier, and Stirling. I have already well thought out the specific connections between Stirling and Le Corbusier and Stirling and Schinkel, but I will also be introducing a possible Le Corbusier/Schinkel connection in the "architectural promenade" of the Altes Museum. Although this circle of three architects is important, the main point will be to demonstrate the methodology of Stirling's art of architectural interpretation.
The three discussions of the three Stirling projects bring up Stirling's submission to Roma Interrotta and [I] will be using that "design" as an example of another Virtual Museum of Architecture and as yet another example of Stirling's fine art of interpretation and reinterpretation.
The document will end with a discussion of how the circulation sequence of the Altes Museum is very similar to the Le Corbusian architectural promenade formula, therefore suggesting the possibility that Le Corbusier may have found inspiration at the Altes Museum. I also have to mention how Boullée inspired the Altes Museum and this then brings up the French/German crossover--cross fertilization.
The notion of cross fertilization makes me now question whether I should intentionally discuss Stirling's interpretations as part of an architectural chart. If nothing else, I could actually generate a genealogical / chronological chart showing how all the buildings throughout the document are related to each other. This genealogical chart could become something of a semi-standard item for the Virtual Museum of Architecture, and even if the direct relationships between buildings is not shown, it would be very nice to see a chart of the buildings I have in chronological order and at the same scale (the drawings could be plan and elevation). There is already an example of this in the Italian Renaissance Architecture book that I have.
Concerning the three basic sets of building comparisons, I just wanted to mention some geographic comparisons, etc.:
1. Le Corbusier's Olivetti is in Milan and Stirling's Olivetti is in Milton Keyes, and both projects remained unbuilt. Further note how inspiration for the Stirling Olivetti project that did get built very likely came from the metal housing project of Le Corbusier and also from the section of the Venice Hospital.
2. The geographic connection between Düsseldorf and Berlin is no stretch at all. Stirling was merely "when in Roming it."
3. The Cologne/Strasbourg comparison is very close geographically and therefore I might be able to raise some points regarding the possible French/German roots of the architectural promenade.
I have yet to write down my basic ideas with regard to the Olivetti comparisons:
1. the long curve of the office building.
2. the low rise manufacturing building.
3. the "free-form" social programmed component.
4. Stirling's further interpretation of the glass skin - Leichester, Olivetti built, Milton Keyes, Düsseldorf, (Cologne?) - the interstitial glass bond.
5. What of the "free-form conference area under glass? Is there a precedent for this in Le Corbusier's's Olivetti or any other late Le Corbusier building or project? Is it a paradigm like the stage set at Strasbourg?
Virtual Museum co-curatorships
I first have to decide what will go on the Homepage before the position of Homepage curator can be defined. I can only begin to really think about the Homepage once I begin talking to Paladin. The first step is to get the Homepage and the name secured. I probably have to file for another fictitious name as well. I also have to figure out the Museum's tax status. [Ha!]