0125 Hadrian's Villa 206k
0260 Minerva Medica 206i
0309 Circus of Maxentius, Tomb of Romulus 206e
0326 Basilica of Peter and Marcellinus Mausoleum of Helena 206j
0354 Basilica of St. Agnes, Mausoleum of Constantina 2072
1230 San Stefano
1762 Ichnographia Campus Martius 2110
1765 Osservazioni Sopra la Lettre de M. Mariette
1769 Diverse Maniere d'adornare i cammini
1814 Architecture Civile
Jean Jacques Lequeu The rendezvous of Bellevue is on the tip of the rock 1777
But perhaps the most radical modification of the classical system of architectural figures is found in the work of the "visionary architects" of the French Revolution, Ledoux, Boullée, and Lequeu. These architects no longer believe that, as was the case in the Renaissance, the architectural figure corresponded to a hidden reality, revealed through Biblical or classical authority. Nonetheless they continued to use the Greco-Roman repertoire, whose meanings were seen to be established by social custom. But although they operated within a conceptual system inherited from the Renaissance according to which figures had metaphorical properties, they combined the traditional elements in a new way and were thus able to extend and modify classical meanings. The design of Lequeu called "Le Rendezvous de Bellevue" is an amalgam of quotations taken from different styles and organized according to 'pituresque' principles of composition. This building is a sort of bricolage made from figural fragments which are still recognizable whatever the degree of distortion. The case of Lequeu is perhaps different from that of Boullée or Ledoux because in his work classical composition seems often to be entirely abandoned. But even in an architecture based on picturesque principles, whose evident aim is to shock, the ability to provide this shock is dependent on the existence of traditional figures. One can , therefore, say of the work of all the visionary architects that it is not only an architecture parlante but lso an architecture qui parle de soi même. It consciously manipulates an existing code, even though in the case of Lequeu, it fragments this code. Emil Kaufmann and others have interpreted the work of Boullée, Ledoux, and Lequeu as being prophetic of the formal and abstrct tendencies in the new architecture of the 1920s and 1930s, and in particular the work of Le Corbusier. I prefer to see it as presenting a parallel to the present-day problem of the survival and reinterpretation of the figure of the rhetorical tradition.
Alan Colquhoun, "Form and Figure" in Oppositions 12 (1979), pp. 31-2.
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1830 Altes Museum 2120
1884 National Bank of the Republic [Clearing House]
1885 House on Girard Avenue
1920 Robert W. Ryerss Mansion, Library and Museum
1937 Neue Reichskanzlei
1953 Governor's Palace 2177
1955 Adler House 217f
1955 De Vore House 217e
1967 Erdman Hall
1967 Fisher House 2187
1968 Dominican Motherhouse of the SSCdR 2206
1973 Allen Art Museum Addition
1975 Brant House, Tucker Town
1978 Brant House Addition 223b
1979 Wissenshaftzentrum
1979 Kasperson House
1980 Long Gallery House
1981 Institute of Contemporary Art 224a
1982 Cooper & Pratt House 2246
1982 Winton Guest House 2247
1982 Mayor's House 2269
1984 Casa Collage 001 225a
1984 Casa Collage 002 225b
1984 Casa Collage 003 225c
1984 Casa Collage 004 225d
1984 Casa Collage 005 225e
1984 Green Enfilade House 2252
1985.04.02 Copy Views
1985.04.03 PRF Complete
1985.04.05 Active Z Set To Display Depth
1985.04.06 Fake It
1985.04.06 Return to Prior Level
1985.04.08 End of Plot
1985.04.10 Locks=SN, UN, GR or Pakistan Postage
1985.04.11 Title Lost
1985.08.23 Update/Fit in Progress
1990.08.17 Fragments, that's all
1991 Philip Johnson Law Center Addition
1991.12.31 Parthenon columns at Wall House 2
1992 Philip Johnson Lewis Guest House Studies
1992.04.14 Exhibit One Apposing Schinkel
1993 Parthenon columns at Villa Stein de Monzie
1993 Sober House 1 2286
1993 Analogous Building 2287
1993.10.12 Say Johns, Say Johns Again
1993 The Architect's Wheel
1993 House/Studio and Grounds for a Berlin Painter
1993 Rooms of/for Justice
1993 Medical Museum Depicting...
1993 Nunnery
1994 Wacko House 002 2285
1995 Adjusting Foundations Untitled
1995 Architectures in Love
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1997.03.20
Capriccio: An Analogous Building c0309
1997 Adadulsian Houses
1998.12.26/27 - 1999.07.13 - 1999.09.25
maison millenniums
1999 Ur-Ottopia House 2303
1999 Maison Millennium 001 2304
1999 Palace of Ottopia 2305
1999 Lauf Haus der Kunst 2306
1999 Schizophrenic Folds 2307
1999 Infringement Complex 2308
1999.05.27 Museumpeace
1999.09.28 pieces/palimsest
2000.01.05 Trophy Tattoo
2001.05.22 Ten Zen Men
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2001.05.22 Room With a View
2001.05.22 Hero Sandwich Diet
2001.06.15 So Eighties
2001.06.15 So Eighties Too
2001.06.15 UT LE C
2001.06.15 They Love That Dog
2002.02.01 11:19
Re: (another) map
I am not opposed to your introduction here of the word/concept appose. Certain definitional phrases in Webster's Third International Dictionary (1969) for appose and apposition provide the solidity of your case:
apply (one thing) to another
deposition of successive layers upon those already present (as in cell walls)
When Nero reenacted the Triumphal Way, he did it with much apposition, probably even controversial apposition (but I doubt anyone opposed). He changed the traditional route, had elephants breaking down part of the city wall, you know, the basic kinds of stuff that Nero is (in)famous for.
The concept of appropriation is very much utilized by artists, and perhaps even more by art historians when they analyze a lot of contemporary art. I don't recall having previously read about the concept of apposition relative to art, and to the activity of artists, till your letters here. As far as I'm concerned, you may have introduced something original, or you may have introduced the concept by actually utilizing the concept itself via your introduction, meaning you may have apposed someone else's prior introduction of the concept of apposition relative to art. In either case, what you write has a refreshing truth to it.
appose 1 archaic : to place opposite or before : apply (one thing) to another 2 : to place in juxtaposition or proximity
apposition 2 a archaic : the application of one thing to another b : the placing of things in juxtaposition or proximity; specif : deposition of successive layers upon those already present
2002.02.03
appositional art
...much of my theory/methodology is best described as appositional. ...the art has been the manifestation of apposing forces...
Appositional architecture is not all that plentiful[?]...
Is something like “Piranesi in Color” an example of “appositions”?
2002.03.14 Palace of Knowledge
2002.03.15 In God We Trust
2002.03.26 Trash Can [Do It] 2
2002.04.03 09:37
[art] being/appositional [to architecture]
Is it correct to think of art as being largely appositional to architecture?
I'm not only thinking of how painting and/or sculpture and/or electronic display screens, etc. are added layers to architecture, which in turn manifest a 'new' entity, but I'm also thinking/wondering about the 'art of architecture' also being appositional to architecture itself.
This leads to now wonder if electricity (and other utilities) might also be (rightly) considered as appositional to architecture.
Conversely, is it (ever) possibly for architecture to be appositional to art? Or is it (ever) possible for architecture to be appositional to electricity?
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2002.04.03 11:01
Re: [art] being/appositional [to architecture]
My line questioning was not directed so much to the usage of the common word, rather to the notion of successive layers relative to the makeup of art vis-a-vis architecture, a reality that exists no matter what word is used to descibe it. [And if anyone can offer a better word that applies to this reality, then please do.]
2002.04.03 11:15
Re: [art] being/appositional [to architecture]
In Webster's Third New International Dictionary (1969) you will find the following definitions:
apposition beach : one of a series of beaches successively formed on the seaward side of an older beach
apposition eye : a compound eye that is characteristic of diurnal insects and in which entering light reaches the retina of each ommatidium as a single spot and the image is a composite of all the spots
2002.04.03 11:31
Re: [art] being/appositional [to architecture]
Probably my favorite "Venturi appliqué" is the (now derelict) Best Showroom.
2002.04.04 10:49
Re: [art] being/appositional [architecture]
Beyond that, the questions I raised here yesterday involve the notion that architecture (over the ages) has largely been apposed with other art forms or with other engineering forms. I thought it would be interesting to openly discuss what those 'other' yet directly near applications are or are not, and how the appositions change or don't change the 'original' layer. For that matter, identifying what the original layer is may also evoke interesting positives and negatives.
2002.04.04 16:48
Re: [art] being/appositional [architecture]
Do you think there might also be such things (in design) as "difficult appositions"?
If so, any "good" examples? And/or is coming to grips with "difficult appositions" something designers should be aware of or be willing and/or able to deal with?
2002.04.11 17:27
Re: being/critical
Palimpsest is not exactly apposition because an erasure occurs before something new is applied.
Apposition occurs within palimpsest when traces of the erasure begin to be seen again.
2002.04.15 Reenacting Shafrazi Apposing Guernica
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