working title museum | the architecture of being... virtual fog |
...may indeed be right about there being a lack in architectural history when it comes to explaining shifts from style to style (and this interests me greatly), but I'm not convinced so far that evolutionary theory (which ever one that may be) is the best(?) way to explain shifts from style to style. Perhaps I'm here being overly simplistic, but recent architectural tropes and the pronouncements of such often appear to be elaborate justifications for what is otherwise plainly arbitrary in terms of ultimate design form. What I like best so far about investigating reenactment in architecture, it the search for origins, that which is being reenacted, because it's in the origins that true originality resides. Perhaps all abstractions are highly idealized reenactments of reality, rather than reality being a reenactment of highly idealized abstractions. Nonetheless, there is that (exciting) element about historical research that is akin to being a detective finding clues and then 'fabricating' a possible or likely scenerio. Since beginning this "vehicle" film thread, it has dawned on me that when "vehicles [in films] are both very literal and very symbolic, and, moreover, it is the seamless transition from literalness to symbolism that the vehicles deliver," that this phenomenon is much akin to the notion of the medium simultaneously being the message. Mostly architecture is the object rather than being the subject, except in the case of prisons where the architecture is the subject and the 'user' is the object. And when I saw Rita Novel being taken as some sort of brand (right around the time of Hurricane Rita, in fact), is exactly when I abandoned that performance. I personally get no enjoyment out of Rita Novel being a brand. Although I do remember the brief late 2006 The Atlas of Rita Novel Tectonics spin-off being some fun. Thayer-D, for all your criticism of Koolhaas just being words, did you ever look at your own words and see how they're mostly hollow platitudes. Since 7 July, this 2000 Quondam exhibit is being reinstated at Quondam. . . Furthermore, I was not making any point about the internet and S,M,L,XL matching in terms of content representation (i.e., their appearance), rather that S,M,L,XL pretty much succeeds at being a "fixed/fluid, massive, all-encapsulating text" and that the internet made/makes a "fixed/fluid, massive, all-encapsulating text" even more possible. There are memorials everywhere all over this planet, and, unfortunately, most are soon and easily forgotten--when's the last time you went specifically to an old memorial to specifically remember what is there being memorialized? Or, for the sake of being internally contrary, is religion really absent? OK, Miles, go ahead and easily argue that tammuz is being selfish by continually pumping the boycott Israel topic. You're not being sure that tammuz "can substantiate anything else" is an indication of your shortcoming, not his. tammuz, my "approach" was to pinpoint the "eradication" of Palestine" being concomitant and due to the establishment of Israel based on Zionist "laws". About five years ago, while I was heavily doing research regarding (the theory of) chronosomatics, I came to the conclusion that touch is the first sense to have come into being, and that touch/contact was/is indeed the medium by which "life" itself began. Animate life began when the contact between the soft and the hard actually became a bond, and thus too the sense of touch came into being. Men, on the other hand, very much do not have that "built-in" protectiveness, hence men make great displays about forever being on the defensive, and indeed it is almost exclusively men that have continually created our planet's foremost industry, if only to create that protective shell that their sex was not born with -- the age old military apparatus (shields, armor, war ships, submarines, tanks, stealth bomber, etc. are all "man"-made protective shells). As tammuz has already made clear, object buildings are very well capable of contributing to the sense of a place, and that was my point about Historic Savannah being largely composed of object buildings. I'd say the 'militarization' is a 'logical' byproduct of manufacture and sales of weapons being one of the top-most businesses of the US. Zenghelis is being critical of 'stylistic' Post-Modernism. So, it's not just a matter of interesting topics, it's also about there being people with interesting ideas/perspectives. The next time I heard discussions on apartheid was in 1985, when I was working at the University of Pennsylvania and the University was being pressured (by students, etc.) to boycott South Africa (which it ultimately soon did). Here's an example of the forum being more active in 2010 than it is now. Perhaps it can work both ways: I wonder if it is possible to put a user on "ignore" or [instead] block my posts from being visible to them. being [an] architectur[al] Duchamp . . . living in a large 3D painting, in a hyper painting, being in a hyperzone, within an environment of many unknown factors . . . And lo and behold, Wright, creative genius that he was, designed the foremost Jewish Vatican Museum in existence, with no one ever being the wiser--quite an accomplishment, (or did it all just happen subconsciously?). I love being inspired, thus the new working title of my next book project is The Faux Failing Memory. The interesting thing about the written word is that you can almost always tell when the author isn't being completely honest. I think we was accused of being a British spy in France (or something like that). The "the pursuit of reductionist aesthetics" in Roman Catholic church architecture is more due to the suggestions of the Second Vatican Council than to "architects [being] uncomfortable with symbolic content and figurative art." "This demolition is doubly literary in that, it is analogous to a deletion rather than being an actual one, and second, it alludes to literary or editorial procedures." That being said, I've never liked the Fay Jones chapel, and it never occurred to me that that space was evocative of the woods, I think because the real beauty of the woods stems not from 'order' rather from the magnitude of its disorder. It turns out that the babbling sound(s) there are created by the water running over two separate lines of rocks across the creek with one line being about 20 yards downstream from the other. Thus, there is this 15 foot stretch along the foot path where you hear the babbling(s) in a kind of stereo. During this time AutoCAD started to enter into architecture offices (largely because AutoCAD was already being used by engineering and mechanical consultants--that's how AutoCAD got their foothold of the architecture market). All this building activity happened amidst Imperial/political wars/struggles--the Empire went from being a tetrarchy (290s) to Constantine being sole emperor 325. The large screens are there to set apart a place within Washington DC that is all about Eisenhower and thus a place where the public can connect with Eisenhower while not being distracted by the surroundings. As to it first being "perfect paper architecture," the design was intended for a sloping, wooded site in Connecticut (with a separate garage). I think the brick façade 'texture' you mention might be due to some of the concrete openings being screened as opposed to open horizontal slits. The police dog that was let into the historic mansion (where no one lived) to sniff out a trail of recent activity went through the rooms on the main floor and then went upstairs and ran up and down the long corridor (like someone might do if they were being a look-out), and then the dog ran outside and darted straight to the Captain's house. |
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