working title museum | the architecture of being... virtual fog |
My anger stems from being passionate about the Campo Marzio, and I dislike seeing the plan given such short shrift by a prominant architectural historian/theorist that should have known better. Krautheimer's 108th birthday party yesterday was ever so intellectually stimulating, and Johnson's 99th birthday party tomorrow is being based on the theme of stupefaction. Fletcher is being a little two faced himself here--first the Arch of Janus is not good design, and then the arch is progressive construction! And as to your reference of the intitial post here being akin to a bunch of nonsense, that's really an indication of how your mind works. And is it possible that Helena, besides being the first master architect of Christianity, is also the world's proto-Gothic architect? As to osmotic and electromagnetic, that's literal and figurative both, very much like the medium being the message. Basically, translating the Latin labels of the Ichnographia taught me that Piranesi was extremely accurate, thoughtful and purposeful in laying out the large plan, and this discovery is totally contrary to Tafuri's accessment of the plan as being completely arbitrary in its arrangements. Given that this whole thread began with the notion of wanting to design sacred space while at the same time being dislocated from the sacredness of the space, what I said about Kimbell without ever having been at Kimbell is completely germane to the issue at hand. "It's very comforting being in the position of designing one's own history." Independent of Kimbell and what others say about it, I've come to my own conclusions regarding sacred-ness being related to electromagnetism and osmosis through my research and development of the theory of chronosomatics. In being creative (or original), one sometimes has to do what is traditionally not supposed to be done. Furthermore, the notion of texts published within the Internet being automatically much less reliable than texts published via books is also bogus, since texts published via books (and reputable publishers like MIT PRESS) are not automatically more reliable, and Tafuri's repeated publications of erroneous material regarding Piranesi's Campo Marzio plan is a prime example. Being digital, that data can thus take on multiple forms. I'm asking because I think a hot rod car's performance can be pointed to specifically as opposed to being general and saying "overall performance." Being at that point now, however, puts me in a unique historical position because Quondam is the prototypical virtual architectural museum, and I am the first architect to design and execute this particular architectural typology. Good architecture does not come into being without good architectural designers. Same goes for "theory"--good architectural theory does not come into being without good architectural theory designers. All buildings are not architecture, but all buildings have the potential of being architecture. The question also strongly hints at the notion of it being ok for some people having control over other people. Upon further reflection, I see you definitely have a point about their being a metabolic twist to what Tafuri and I learn from the Campo Marzio respectively. I thought he was being friendly, so I waved back and continued to stroll. Then I faintly heard, "We can't get back in." There is no question that I have egotistic tendencies; they have partly to do with being an architect, and its also just part of my personality. I imagine human clones will be completely egotistical; they actually won't have much choice in the matter being purely themselves. Perhaps my self-centeredness is only a sign of 'beings' to come. God forbid i'm cloned! There was lots of behind-the-scenes stuff, and when my mother saw Paula Abdul being briefly interviewed, she (my mother) said something and just started laughing. I said, "What did you just say?!" "Why doesn't she just let them hang out altogether?" Mom replied. I say this is odd because I have always loved drawings as well as the act of drafting, axonometrics being my particular speciality. There is one thing that distinguishes Christianity from the other major religions, and that is the notion that Divinity and Humanity are capable of being the same thing. Gosh, that kind of sounds Pagan, doesn't it? So if you asked me about the notion of 'draughtsmanship' being the same as the delivering of architectural narrative, then I feel the same as you. Her employers were out, so there was no danger of being caught by them, but she had no idea the Baroness living in the villa down the street was listening, if not in fact spellbound. Being now thus informed may indeed have a noticeable effect on the second half of schizophrenia + architecture, and if that happens your [inspiring] email is largely responsible. If architects and their educators choose to ignore long term rigourous research regarding the Ichnographia Campus Martius that literally far surpasses what are otherwise only Tafuri's speculations, then what does that say about architect's being sensitive and attune to existing conditions, programmatic demands, evironmental factors, etc., etc.? When I was a child in Catholic school, Purgatory was often described as 'limbo'--essentially being there and not there at the same time. I remember the convent interior (at least the few public rooms that I regularly saw) being very austere, although also somewhat modern--the furnishings being like 1940s-50s institutional modern. In retrospect, the place also had a museum-like quality. I still often think of you and I being very much on the same promenade architecturale, together on the same path in both a real and virtual sense. I don't buy the notion of there ever really being a split from the symbolic system. Degrees of separation, yes, but no real split. Being now in limbo (at the half-way point), however, we have the opportunity to venture/explore within both the profane and sacred realms. When I was back in school (in the late 1970s), a professor used the example of a 6" high curb as being all there is between a pedestrian sidewalk and fast moving traffic, and how in reality the security level there is extremely slight. With drawing entities being more than just lines, etc., other programs can further manipulate the data to generate various quantitative analyzes/reports at the basic level or eventually generate other drawings/models. Besides, who can resist being around Dali these daze? It's been over ten years since I've read any Heidegger, but I do remember being very interested and indeed influenced by much of his thinking. Almost two weeks ago I visited and photographed Louis Kahn's Bryn Mawr Dormitory, which I didn't know was currently being renovated. In Terragni's Danteum, Purgatory is designed as a "room" that is both (equally?) inside and outside--the transitional place. Supposedly, this is to have an uneasy effect, being neither inside or outside, but I think you can look at it positively as well, being both inside and outside--the center of the Villa Savoye is a perfect (positive) example. Kind-of like going into a black hole and then being in the other side. By taking 'full advantage' I meant being both inside and outside, both profane and sacred, both restrained and liberated. And, given the nature of the Hurva design, there is every evocation of St. Pierre being "wrapped with ruins." There is metabolism now, however, and it occurs within the kidneys as they produce uric acid--the kidneys are also the body's second best osmotic machine, the lungs being the first. ob·scu·ri·ty Subject: the pleasure of (being lost in translation) architecture 2a. The quality or condition of being unknown: "Even utter obscurity need not be an obstacle to [political] success" (New Republic). How ironic that someone whose point is missed complains of others being inarticulate, incoherent, unvocal and/or tongue-tied. 3a.The quality or condition of being imperfectly known or difficult to understand: "writings meant to be understood... by all, composed without deliberate obscurity or hidden motives" (National Review). If the fact that SGP objects to his definition of interface being applied to an email list is any indication, then are 'interfaces' just another form of control, albeit cleverly masked? 3b. An instance of being imperfectly known or difficult to understand. |
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