has the sun finally set on oma?
As to what's next, maybe this, or this, or this, or this. And there's always hope.
dxf of Durand plan scans
There was also the idea of generating a new ichnographia via random collage of the Durand plans.
Venturi's Lieb (No. 9) House to be moved (or demolished)
The Lieb House
Loveladies, New Jersey, 1967
(with the assistance of Gerod Clark [who may be the first architect to collage magazine people within architectural renderings])
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.
Re: Miscellaneous stuff
...experiment with architecture within a/the space-time continuum. For example, where some building models have already been collaged together, it's not just being playful, but also seeing what it's like when architectures from different places and/or different times cross paths. Another example is how the Axis of Life of the Ichnographia matches the Benjamin Franklin Parkway is like where two different space/time architectures actually lock together (hence Ichnographia Quondam,). ...redrawing a plan of the Palace of Versailles, and looking forward to seeing how and where that will fit in within Quondam's space-time continuum.
Villa Savoye Shadowed 2407
Savoye Shadows Annexation 2408
Villa + 15 2409
how about thom mayne?
Quondam is my site. It's the first virtual museum of architecture, online since 21 November 1996. Earlier this year thingsmagazine.net described Quondam as "Stephen Lauf's epically impenetrable 'online collage', a real labyrinth of a website," and that suits me just fine.
Yes, Quondam is dense, and even I don't know where everything is, so I utilize site-specific google searches to find things.
The numbering system has no meaningful significance beyond its sequentiality; file names, that's all.
The specific image you ask about also has no intended significance in terms of how Thom Mayne may see things, but, as you've now demonstrated, it is capable of inspiring a significance. And that's more or less the point...
The current state of Architecture Theory
Here's what comes to my mind when I (too) wrestle* with then what.
I made a bunch of collages during the summer of 2001. These were done for art, and not for architecture, but there was some architectonics within some of the collages.
Last year there was "has the sun finally set on oma?" thread here at archinect/forum. To join in the discussion I wanted to post images of a couple recent OMA projects that I like. And while finding the images online and seeing the projects again and trying to figure how to explain why I like the projects I noticed a kind of strange resemblance to two of the collages I did in 2001. (I did not think that maybe OMA saw the collages online.) What happened at that moment of 'recognition' was an insight into how I myself could have found architectural inspiration in the collages.
*"Eternal Wrest" is the last chapter of Architecture in Critical Condition.
The current state of Architecture Theory
Quaestio Abstrusa Background No. 191
28 April 2001
manipulated digital image file
Quartier des Halles