cosmos
2200 BC Stonehenge
124 Pantheon
osmotic architecture; electromagnetic architecture
1975 Kimbell Art Museum
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2000.03.21
ideas
The intentions of Ludwig II--to make his mark as a memorable European monarch via Gesamptkunstwerk, and in Ludwig's case it was a Gesamptkunst reenacting a battle against time. Through his buildings, Ludwig becomes most memorable because they enter every architectural imagination that perceives them. Ludwig was definitely a zeitgeist monarch as architectural patron.
"(chronosomaticly) Deconstructing the Kimbell --an osmotic and electromagnetic analysis. What it facilitates is what makes it a facilitator. Light and the equalizing exchange thereof.
2002.06.23 13:01
Re: genetic architecture
Imitating nature is not so much arbitrary as it is reenactionary.
2002.10.26 12:01
Re: Monkeys and designers
You know, there might just be a 'natural' creative pattern oscillating between wavelengths, calendrical coincidence, and reenactment.
2002.12.09 17:41
Re: Sentimental Journey
Yes, our planet's celestial cycle, literally, does reenact itself with each revolution around that star we call the sun. And yes, human procreation is often akin to reenactment. Yet, more than anything, it is human memory that manifests the primordial reenactment that we humans deal with consciously and unconsciously all the time. Our memories are nothing but reenactments.
How all this relates to the sensibility toward artistic creation, be it a new sensibility or an old one, is easily considered an open question. What would it mean if human imagination is actually a mental process that reenacts corporeal physiology, for example, an imagination that behaves like osmosis where an equilibrium is sought, or a metabolic imagination where creative and destructive forces act in tandem toward a manifestation. Would such thinking yield a truly new sensibility?
If the imagination indeed already does operate in a way that reenacts corporeal physiology, then it has been operating as such for as long as there have been humans. Could it be that the new sensibility that you say is coming turns out to be a better understanding of our own visceral sensibilities?
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2003.09.01 14:09
Re: Evolutionary theory and architecture
Regarding paradigm, the dictionary definition is that of being a model, which is not exactly the same as a "meme". For example, the shift in antique Roman culture from Paganism to Christianity is a paradigm shift that occurred largely because of the legalizing of Christianity and the outlawing of Paganism. One could say that Christianity spread within the antique world via "meme", which in modern terms would be called evangelism, but the cultural shift from Paganism to Christian is very much based on legal paradigms.
I forgot mention in my last post the close relation between "meme" and reenactment (and what I have occasionally referred to as reenactionary architecturism). Reenactment as a pure function precedes "meme" in that the function of (human/individual) memory itself is a mental reenactment, thus "memes", more than anything are the spreading of mental reenactments, just like viruses replicate/reenact themselves.
When it come to "style", one could ask "What (if anything) is the style reenacting?" In Meaning In Western Architecture, without specifying reenactment, Norberg-Schulz nonetheless explains how the axiality of Egyptian temples as analogous to the axiality of the Nile, etc. Likewise, the cardo and decumanus of Roman town plans represent (reenact) the axis of the Earth and the motion of the sun respectively. One could even ask what (if anything) does symmetry in design reenact? Does symmetry in design stem largely from the overwhelming symmetrical design of the human body?
If one takes the design of the human body as a paradigm, can one then say that corporAl symmetry was then reenacted corporEAlly, and thereafter symmetry in design was spread as paradigm via meme?
Is it fair to say that A. is (or appears to be) taking the theory of evolution as a paradigm and via meme applying it to the history of architecture? Or is a theory of evolution already manifest as a paradigm within the history of architecture, and A. is (the first?) detecting it? Oddly, if A. is successful in his pursuits, the answer to both questions will be yes.
All of the above regarding reenactment stem from the logical hypothesis that a reenactment can never be as original as that which it reenacts, and that reenactment come with degrees of separation between the reenactment and that which is being reenacted. Thus (I see) paradigm as closer in degrees to something original and meme as closer in degrees to reenactment.
Here's one of my favorite examples of reenactionary architecturism: Philadelphia, Pennsylvania is where the Declaration of Independence and the U.S. Constituted originated, but the design of the city itself is very much a reenactment--there are other historical cities named Philadelphia (today's Amman, Jordan, for example), and Holme's survey/plan reenacts a Roman camp town precisely, even to the point where the cardo here today, Broad Street, is the longest straight urban street in the world. After the American Revolution, Philadelphia became the first, albeit interim, capital of the USA, and it's architecture then began to reenact the architecture of ancient Greece, which was used a paradigm of "democratic" design.
In the beginning of the 20th century, the design of Philadelphia's new Benjamin Franklin Parkway set out to reenact the Champs Elysees of Paris, and there indeed are replicas of the palaces of the Place de la Concorde at Logan Circle, the centerpiece of the Benjamin Franklin Parkway. The design of the Benjamin Franklin Parkway as reenactment becomes even more compounding when it is recognized that its design, as unwittingly manifest today, matches exactly Piranesi's design of an axis of life within the Ichnographia Campus Martius
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2003.09.22 12:29
Re: evolution and aesthetics
P. asks: But where is the principle in architecture which is equivalent to that of mathematics? If there had been one - why would we have styles which change throughout history. Where is this constant here? How does it show itself in history?
Steve replies: Earth's gravity is for sure a constant [force] that all architecture has to contend with. For example, although styles change, the predominant notion of floors being level doesn't. How does an arch best resist gravity? Via it being rounded or via it being pointed?
Another constant [force] that architecture always (has to) deal with is climate, and the fact that climate varies significantly dependent on location may well explain why (for most of its history) architecture (style) varies significantly dependent on location. Odd/funny how a great many of the buildings designed and executed today strive to have a constant climate inside regardless of where the building is outside.
"What climate does the inside of your building reenact?"
"I love how your design pointedly reenacts a resistance to gravity."
Perhaps Disney's greatest achievement is the making of lots of money reenacting reenactments.
"What New Urbanism is doing is great. We should reenact that reenactment here."
"This is my greatest design yet! It reenacts both evolution and aesthetics!"
2004.05.02 12:01
Re: movement generates 3d
Which has a better memory, the mind or the body?
"The spin-doctor I most believe in is the Earth itself, mainly because of the calendar of seasonal reenactment it engenders." he said jokingly.
"Are you paraphrasing from Hemingway's A Moveable Feast again?" the other quickly queried.
Enter Eutropia "Hey! Guess what! Frank Lloyd Wright, the Guggenheims and Sigmund Freud were all at the Vatican Museum doing a double-helix love/hate thing circa 20 January 2004. They were obviously avoiding us at Mediolandum. And that reminds me how 1699 years ago at Mediolandum yesterday my husband officially became a quondam Emperor."
Where does one stop being in Mediolandum and start being in Milan?
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