2000.09.03
Frei Otto and Free Otto Architectures
...present pictures of the 1972 Olympics site next to captured images of the rotate extruded forms...
"the free ottopology of Ottopia" ...relates to the dexterity and schizophrenia of rotated surface extrusions, at least my version of the phenomenon and data manifestation; the creation of Ottopia in general; a “history of Venturi hypersurface architecture” in Philadelphia, e.g., the forcefield of St. Francis; Scientific Institute; Franklin Court; Welcome Park; the work of Kahn: Ahavath, Richards Medical, City Hall; the best hypersurface of Philadelphia architecture, the work of Frank Furness, particularly the half castle bank facade (and this leads to Sullivan as a tangent).
...the notion of hypersurface versus a new hyperform architecture...
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2000.10.02
ideas
The Architecture of Virtual Eventuality
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 . . . "the working title museum" . . . how people will buy their art and architecture in the future . . . Rita Novel--a book of cult fiction . . .
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2000.11.09
inconsistencies and hyperboles?
1. I agree that historians will never really know what an artist was thinking, and to that end whenever I analyze historically I try to give exact textual reference and/or make it clear that what I say is my opinion/interpretation (hopefully with some basis). 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 scenario. Moreover, it is more and more the historian's job today to search out and correct the mistakes of previous historians (a kind of Baroque activity?).
2. I'd like to be on the record for proposing that in essence the Baroque involved: a) a bifurcation of reality and illusion, b) pervasive mirroring (figuratively and literally), and 3) reality reenacting its own illusory mirror. For now I'm working on the premise that the combination of these three attributes is mostly unique to the Baroque. [I am not asserting, however, that the artists of the Baroque were actively thinking about the combination of the three attributes when creating their works. I'm simply calling out a (distinct?) pattern that (for me at least) is there.]
3. Please consider my contributions to the recent discussion as addressing the notion of emergence of style as opposed to the invention of a style. Although, I have to again stress that there really is a lot of invention going on within the designs of Michelangelo's fortifications of Florence.
4. I'm going to venture into some new activity at architecthetics, and that is to outline and ruminate on the beginnings of Christian Church architecture and specifically the role that Flavia Julia Helena Augusta (the mother of Constantine, St. Helena) played within those beginnings.
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