Architecture & intellectual property
To what degree have you or your practice developed a set of knowledge or practices that can be defined as your own Intellectual Property?
Russian proverb: So the question, so the answer.
Architecture & intellectual property
I'm still not sure whether "Patent Office" within Content is legally serious or not, but it is a very good documentation of OMA/AMO's 'intellectual property'.
It's also strange how authorship is now-a-days sometimes seen as something negative, although 'intellectual property' is all about legal 'authorship'.
Now 1/10th into de Duve's Kant After Duchamp. The passages I read last night reminded me of some passages within Tafuri's Theories and History of Architecture. I guess I like lists interspersed throughout prose. Likewise, just reading the index of Lefebvre's The Production of Space fascinates me.
Had hoped to gleam more from "Museum" within Privacy and Publicity, thus now planning to reread "The Portable Museum" within Demo's The Exiles of Marcel Duchamp.
"Ah, bear in mind this garden was enchanted!"
"It's not so much a presence. It's more a lack of absence."
I will have finished Inspiration's Quick Turn To Envy tomorrow dawn. Apparently more people write this book than read it.
You know, for me (like for most architects), architecture has always been a sort of tourist site.
You know, there are really only two different fonts used throughout S,M,L,XL. The size of fonts vary though; some are small, some are medium, some are large, and some are extra large.
to clarify, when I wrote...
It may be well worth noting that the publication of S,M,L,XL closely coincides with the dawn of the easily-browsable/easily-publishable hypersized Internet. Ends and beginnings are both extreme situations
...it was in response to:
I don't think there's been a book [since S,M,L,XL] with such broad influence since. What do you think?
...meaning that, since S,M,L,XL, it's from the Internet that broad influence now emanates.
S,M,L,XL is indeed a kind of "browsable" book that predates the internet in its breadth, and, for me at least, has stimulated publishing via the internet.
As far as I'm concerned, the internet makes "creating a fixed/fluid, massive, all-encapsulating text" even more possible.
It may be well worth noting that the publication of S,M,L,XL closely coincides with the dawn of the easily-browsable/easily-publishable hypersized internet. Ends and beginnings are both extreme situations.
Page 68 of Privacy and Publicity: Modern Architecture as Mass Media is loaded, and the dyslexical error therein provides a spark capable of igniting an explosion. More truth may in fact lie with the notion that the attributes of memory and remembrance are indeed interchangably fluid rather than strictly opposed. Le Corbusier's 'doctoring' of photography (as discussed in the chapter after page 68) even seems to be a perfect example of the interchangable fluidity of memory and remembrance.
--Balloon and Prick: Modern Reading as Virtual Architecture, (forthcoming).
currently on my 'book table':
Privacy and Publicity: Modern Architecture as Mass Media
The Limits of Interpretation
The Changing Light at Sandover
The Architecture of Humanism: A Study in the History of Taste
The Rise of Scientific Philosophy
Promises, Promises: Essays on Psychoanalysis and Literature
Difference & Repetition
Man and Time
The Anaesthetics of Architecture
The Diaries of Paul Klee
Edmund Husserl's Origin of Geometry: An Introduction
"The Boudoir in The Expanded Field"
The Production of Space
Art in America, April 2008
Artforum, April 2008
51N4E space producers
Future City: Experiment and Utopia in Architecture
Yves Brunier, Landscape Architect
...perhaps a sign of being neither student nor architect; sondern etwas anderes.
I can't answer for others, but lately my architectural theories involve a conjunction of Erlebnis und Erfahrung.
Currently reading Privacy and Publicity: Modern Architecture as Mass Media, and got up to p. 84 yesterday morning while waiting for the repair of an automatic car window. There is an unfortunate manuscript error on page 68:
Benjamin cites a sentence of Theodor Reik... Remembrance is essentially conservative; memory is destructive."
In these terms, Reik's distinction between conservative memory and destructive remembrance...
As they stand (at least in the 1994 hardback edition), these lines contradict each other, and thus completely confuse the issue. Now checking the source, lines 1-4 correctly recall Reik's distinction.
Staying on page 68, I (personally) use/translate Erfahrung as 'a knowledge of', and Erlebnis as 'an actual experience of', in the sense that Erfahrung is more or less a reenactment of Erlebnis.
what is gothic that is not ornament? what is baroque, if not ornament?
Gothic is a passion play, whereas Baroque is a double theater.
The Timepiece of Humanity
(chronosomatically) Contemplating the Navel .06
These five transverse sections through the navel clearly display the relationship between the navel and the iliac crests of the hip bones. The sequence of these corporal sections is in transcendent order, representing the order in which the plane of the present engages the navel and hip bones as it steadily moves upward. The bottom section is the initial engagement of the navel and the top section is the final engagement of the navel. Note that as the plane of the present rises through the navel the presence of the hip bone crests diminish to the point of "non-presence" (as indicated between the parallel lines).
Since the male corpse used in the Visible Human Project is that of an overwieght man, the relationship between the navel and the iliac crests of the hip bones is slightly out of synch. Normally, the "disappearance" of the hip bones aligns with the center of the navel.