BIG Tallinn Town Hall 2008
How can a building be 'critical'?
To ERr with SuperGlue
Going into Eclectic Shock/Therapy
Surgical Double Theater
Waiting Room: Anxious, Reading, Liszt
Operation a Success; Patient Dead
Malpractice Case: Houses
chapters of Architecture in Critical Condition
On 2002.02.03 I wrote a note regarding “appositional art” and also the notion of wqc/appositions, but concluded with not being sure what appositional architecture is. It now seems that I do know what appositional architecture is, and I've been doing it via the "recombinant architecture" and Ichnographia Quondam, and even the first two Houses for Otto, House of Ill-Repute 001, Le Composites, Cut & Paste Museum, etc. I can at least collect/list all the examples of "appositional architecture" at Quondam, and outline a display of the work.
Sober House 1
Maison Millennium 001
Palace of Ottopia
Haus der Kunst
House of Ill-Repute 001
Sober House 2
Dominican Villa Savoye
House of Shadows Bye
Stoner Food Restaurant
Gooding Trice House
Gooding Trice Villa
Cut & Paste Museum
Palais House 10: Museum
Headquarters of D.A.T.A.
Villa Plus Ultra
Courthouse Plus Ultra
There seems to be a thin line between appositional (architecture) and superimpositional (architecture), yet the 3-dimensional nature of architecture actually can simultaneously accommodate apposition and superimposition. For example, the HQ of DATA is appositional in elevation and superimpositional in plan. I like this interesting double aspect that architecture can facilitate (and I wonder if this could be part of “Surgical Double Theater”).
Actually “Going into Eclectic Shock” was/is going to be about my recombinant architectures, so either it all somehow comes together or it begins to interfere, or contradict. [2009.04.07: eclectic shock could deal with mixing/recombining architectures from different era into new wholes.] Is appositional architecture and superimpositional architecture somehow going to be the overriding aspect/motif of AinCC?
I now suspect, after seeing the third episode of Lost season 5 last night, that Lost will end with all of its original cast alive and together. This is how I see the current time traveling coming to a conclusion. It will be like Finnegans Wake and like Il Campo Marzio. Too bad Bloomer didn't make this vital connection.
So now it's exploration of the possibilities of the space-time continuum. Like Proust was a neuroscientist, was Piranesi, with the Ichnographia Campus Martius, a scientist of the fourth dimension? (Here is where I have to review Dixon's "Ichnographia as Uchronia".) IS IQ also a study/experiment of architecture (and urbanism) in the fourth dimension? For IQ the time continuum connection is the Axis of Life/Parkway connection, which comes after Piranesi's own Porticus Neronianus/St. Peters connection.
Are the recombinant, appositional buildings of Quondam studies/experiments of architecture in the space/time continuum? Is that what they always have been? (Here is perhaps where I reread Geometry, Relativity and the Fourth Dimension.)
And what of The Odds of Ottopia? Did it all have a sense that even I did not fully understand? Bilocation was a significant part of the story. A step beyond Theatrics Times Two? What is Bilocation2 or Bilocation3, etc.--the studies of further powers within 2 = odd.
Quondam and Museumpeace as bilocation theaters? And all my posting activity over the last 12 years as writing / existing within the continuum as opposed to just within reality itself. Just looking now at the Virtual Domain collages I again see an architecture within the space-time continuum--the theme is widely present throughout my work, and I can now see on what foundation my further work rests. Is Quondam (and Museumpeace getting there) impenetrable because of its space-time existence? its slippages in and out of various time frames? (Do I write a comment at things.net?)
This is a great note because a breakthrough into understanding my (design) work is abundantly more clear. There is much here for me to elaborate on further, and I could formerly write about what Quondam is all about and indeed explain my work as a further approach to architecture. Does this also explain my further approach to art?
And now, before I go to read Dixon's text (Uchronia), I'll end by mentioning that I now have to think about the relationship of reenactionary architecturism to traveling in the space-time continuum.
2009.07.02 Savoye Shadows Annexation
2009.07.02 Villa + 15
2009 Basel Burghof
2009 Barranca Museum of Modern and Contemporary Art
Information Architects Talking About Architects and Architecture
Looks like there's now no denying that there are architects and there are appositional architects.
Examples of modern exterior with traditional interior
somewhat akin to the Getty...
REX, Munch Museum, 2009
The compartmentalized approach leads to any number of mix-up possibilities.
Level 1: lobby, bar. restaurant, spa, fitness, banquet rooms.
OMA and Herzog & de Meuron, Hotel Astor Place, 1999.
SL, Mayor's House, 1990.
The Great Books (of Architecture)
The Decline of the Whiskey Empire
Voodoo Valley, 19120
buildings that move(d)
Kissing That Reality Good-bye
The Last Great Pagan Architecture of Rome
Architecture of the Divided States of America
Rita Novel This Sontag
So, How's Architecture These Days?
An excursus between 'Bilocation Syndrome' and 'Going into Eclectic Shock/Therapy':
1762 Ichnographia Campus Martius
1960-65 Eleanor Donnelly Erdman Hall
1960-67 Dr. and Mrs. Norman Fisher House
1965-69 Dominican Motherhouse of St. Catherine de Ricci
1977 UNEP Headquarters
1979 Kasperson Residence
1980 The Long Gallery House
1981 Institute of Contemporary Art
1982 Cooper & Pratt House
1982-87 Winton Guest House
1993 Wacko House 002
1993 Sober House 1
1999 Infringement Complex
2001 Ten Zen Men
2001 Room with a View
2002 NATO Headquarters
2006 Parrish Art Museum
2007 Hurva Dormitories
2007 Gooding Trice House
2007 Trivilla Savoye
2008 Hospice Søndergård
2008 Art Souq
2009 Basel Burghof
Louis I. Kahn, Erdman Hall (Bryn Mawr, PA: 1960-65), plan.