...the first exhibit is far more meaningful than originally thought. The issues of Parkway Interpolation and the virtual building of Quondam within the museum annex design, all reinforce over half the issues covered in the exhibit. ...at Quondam... ...a continual manifestation of the virtual museum ideas, ...the continuation of the Parkway as virtual place.
Re: [looking glass] the old masters
I think he's at least partly right; I've been talking about the camera lucida for years--ever since I saw an exhibit of the astronomer Wm. Herschel's camera lucida drawings at the Ansel Adams. The Old Masters used technical aids when they could; the NYer article reprints that picture of Dürer carefully measuring. I've little doubt that if they had the camera lucida available at least some of them would have used it. And of course the example painting reprinted in the NYer(it's upstairs, I don't want to get it to cite it) does indeed look photographic.
So what part of Hockney's theory do you think is right is right, and what part do you think is not right?
What I like about the article is the strong implication that the manual dexterity of the 'old masters' is not exactly what art history tells us it is. In the case of Hockney's theory, we have CLAD and COAD--Camera Lucida Aided Drafting and Camera Obscura Aided Drafting respectively--which I see very much akin to CADD -- Computer Aided Drafting and Design. In either case, manual dexterity is aided by 'technology'.
Having started using CAD well before most other architects (in 1983), the initial reaction of most of my colleagues was that I had now somehow abandoned architecture because I was now letting a computer do the drawing(and designing they assumed) for me. To me there was no doubt that my critical peerage was being purely prejudicial and biased because I knew that they knew nothing about what CAD was really about. What bothered me most, however, was that practically none of my colleagues wanted to learn more about CAD. I had to conclude that they were most afraid of facing their own ignorance, yet I also had to concede that I was perhaps the only one to see the hypocrisy that was going on. For myself, learning CAD in 1983 almost immediately made me a more creative person then I ever would have been without it.
The other thing I like about Hockney's theory and his presentation of it is that he bases his theory not just on testing the theory by using the camera lucida himself, but also on his own experience as a consummate artist. Where the camera lucida tests offer 'physical' evidence for his theory, I, like Hockney, actually feel that having the working knowledge of being an artist when theorizing how artists work provides the more sure evidence, even though it is not physical evidence.
Perhaps the real trick of the camera obscura is that it has managed to keep a lot of Western culture in the dark about how art really gets done.
Re: [looking glass] the old masters
I very much question the widespread opinion that being able to design well is dependent upon being able to hand-draw well. Such thinking basically means that someone without the use of one or both hands could never be a good designer. Let's hear it for all the **digitally** impaired designers out there that can now fulfill their design dreams because of CAD.
Anyone hear any more about the new voice activated drawing software that speaknoevil.com is working on? last I heard they just about finished their deconstruction language version, and next plan to develop several dead language versions.
ciao 4 now OR volare sursum deorsum pedes!
diversity and entropy
This leads me to then ask, what exactly was the 'dominant' feature of Modernism (in architecture) when it was not a diversity of behavior, or, to but it in your terms, when Modernism was 'classical'? Essentially, I want to know if you can aptly describe when and how exactly architecture was at its most modern, that is devoid of any diversity.
I agree with you that Baroque architecture is not a product of 17th century politics, because Baroque architecture is more the product of 16th century politics (especially politics outside Italy that destabilized Italy). The Baroque of the 17th century is really just a reenactment of its illusory 16th century self, meaning the 17th century Baroque mirrors the 16th century Baroque. To understand the Baroque fully, you must learn to recognize both the illusory self of the Baroque and the Baroque's mirrored reenactment of its illusory self. For reflection of the Baroque to be true requires the Baroque's reflection to be Baroque as well.
02020401 Tower for Princeton Memorial Park elevations 2207i04
Re: Robert Venturi
I'm beginning to see a lot of Venturi et al architecture and design as 'mod'. Not Modern, not Post-Modern, not (just) Pop--specifically mod.
The Princeton Memorial Park tower is very mod, as is the Mr. and Mrs. Gooding house of a decade later.
Venturi, like Stirling, is a mod colorist (for sure), a distinct rarity within 20th century architectural history.
Unthinking an Architecture
Volumes of Unthinking an Architecture may include Remove, Lacunae, Nimiety, Sagacity, Chronosomatics, Atypical, Domestic, but not necessarily in that order. The order really doesn't matter. I'm thinking of UAA as a multi-part vehicle for product generation and placement. There is also the notion of being purposefully obsurant [toward absurd], thus allowing all kinds of non sequitors and an overall lack of presupposed cohesion.
September 3, 1967 = January 30, 2005
And now I wonder what the Iraqi War Memorial in Washington DC is going to look like. Maybe an exact mirror of the Vietnam War Memorial on the other side of the Mall?
Has anyone ever said "One good reenactment deserves another" before now?
Eutropia, Helena, and Constantine
They did a lot more than dabble; their architecture and urbanism shifted the whole paradigm of the Roman Empire.
14020401 Danteum Plus Ultra plan modern/ancient context IQ11
14020402 Danteum Plus Ultra plans model modern/ancient context IQ11
14020403 [Danteum] Plus Ultra extrusion model
15020401 Farnsworth House @ Pennypack 1100x550 2174
16020401 Herzog & de Meuron Elbphilharmonie
17020401 Museum of Knowledge model work