2002.05.28 10:18
Re: old sites apposed with a new rite
Coincidentally, it was in the lower, archeological section under the nave of St. Gudule, Brussels on the last Saturday of November 1999 that I first thought of the notion that recently led me to write, "What I find interesting though, is that at least the sites and the days remain special. Kind of makes you wonder if the specialness is there regardless of what 'cloak' presently dresses it."
Could it be that my thinking was somehow enhanced the night before while having dinner at the top of the Atomium? Could it be that the Atomium is the most oversized reenactment presently on this planet?
2002.05.28 10:47
Re: virtual buildings
In terms of virtual buildings (like Quondam) online, the building has to first come to you before you can go through it. Granted the visitor to a virtual building first sends a request for the virtual building to come. That's the way the Internet works right now--you can't go into a website until the website data comes to you. Relativeness is not the issue as much as inversion is.
Could it be that the more extreme a situation is, the less relative it is?
or
Could it be that the more extreme a situation is the more it begins to invert itself?
2003.05.28 11:20
Re: story telling
Piranesi very much utilized/executed a 'narrative' approach to design via the Ichnographia Campo Marzio, which predates Cooper Union/Hejduk by about two centuries. Moreover, Piranesi's approach may well have been inspired/influenced by the mnemonic design methodology of Hadrian's Villa at Tivoli, which comes from 1900 years ago. Story telling/weaving/fabricating (like the above) is a very basic form of reenactionary architecturism.
Is reenactionary architecturism essentially an architecture that does not forget?
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2004.05.28 5:14
Content
At the In Your Face symposium at NYU 29 September 2001, featuring Robert Venturi, Denise Scott Brown, Rem Koolhaas and others, I questioned Venturi about his unsureness regarding 'content' when it came to building facades that were also screens that present electronic imagery--Venturi pioneered this idea back in the 1960s with an unexecuted design for the College Football Hall of Fame. My point was that if architects design buildings where (some of) the facades are screens, that it might also be the 'job' of the architect to provide the content to be 'screened', or at least provide some sort of direction to how the screen facades might be fully utilized. After a full exchange with both Venturi and Scott Brown, the moderator of the symposium asked Koolhaas if he had any additional thoughts on this topic, to which Koolhaas replied, "I am not interested in discussing 'content'." Koolhaas has since then obviously changed his mind because the whole theme of the Koolhass/OMA/AMO exhibit presently at Berlin, and the title of Koolhaas' forthcoming book, is indeed Content.
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2006.05.28 12:28
bibliopolum
Ludwig's dissertation on reenactment
Trumbauer Architecture Tours
Nudist Camp at the Philadelphia Musuem of Art
"a moldy paper on mildew"
The King pf Prussia Marble Trail
De Spectaculis II
The Marriage of Twisted and Column
Here a Versailles, There a Versailles, Everywhere a Versailles, Sigh
The Promenade Architecturale Formula
The History of Terrorism in Film
Pilgrimage, Reenactment and Tourism
A Quondam Lenni Lenape Land
Learning from Lacunae
Creating One's Own Virtual Museum of Architecture
Ichnographia Romaphilia
The Bilocating Barnes Foundaton
An Architecture of Removement
How Did This Happen Revisited
07052801 Gooding Trice House plans 2377i01
07052802 Gooding Trice House model 2377i02 b
07052803 Gooding Trice House perspectives 2377i03
12052801 Acadia NPHQB site plan 2204i01
12052802 Frug House 1 plans elevation sections site plan scan 220ai01
12052803 Frug House 2 plans elevation sections site plan scan 220bi01
12052804 City Tower plans section scan 217di00
12052805 City Tower elevation scan 217di01
13052801 Market Street East Development Girard Trust plans models 2263i01 b c d e
13052802 Clay Workers Co-op plan scans 2243i01
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2013.05.28 09:32
Hitler's Classical Architect
elegant 1 a : characterized by refined grace or dignified propriety esp. in appearance or manner : tastefully correct and refined d : characterized by scientific precision, neatness, and simplicity 3 : of a high grade or quality
ominous 2 : indicative of future misfortune or calamity : causing anxiety and fear : potentially disasterious
powerful 1 a : having great force or potency 2 : endowed with talent or ability
sinister 1 archaic : ominous of evil or wrongdoing 2 obs : conveying misleading or detremental opinion or advise 3 archaic : dishonestly underhanded 6 : presaging ill fortune or trouble
It is with these words/concepts that I would frame an analysis of the architecture of Albert Speer.
14052801 Wave Wall House 2 plan 22002 context 2410i04
14052802 Casa Unbekannt plan 22002 context 2412i04
14052803 Palais Savoye plan 22002 context 2411i06
14052804 Villa Appositional plan 22002 context 2425i03
14052805 Almost Semiquincentennial House plan 22002 context 2426i04
16052801 BIG Museum Extension Varde
17052801 House @ Riva San Vitale plans elevation section image 3714mi23
17052802 Gehry Residence plans elevations 3714mi24
17052803 Koshino House plans elevation section image 3714mi25
17052804 Barnes House plans sections 3714mi26
17052805 Maison à Bordeaux plans elevation sections 3714mi27
17052806 Villa Rotonda site plan plan IQ60/61 2080i49
18052801 CCTV elevation model work 2332i04
18052802 Seagram Building City Tower CCTV elevations 217xi05
18052803 CCTV elevations work 2332i06
19052801 atypical atemporality Philadelphia School plan placement work 2467i17
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