23 December

1853 death of Achille François René Leclère

merge building models
1997.12.23     2093 3142 3701d 3704 3705c 3724b 3730b 3778 3786 3789 6111j

[hyper]murals @ the Altes Museum
1997.12.23     2120c 3142 3724b 3730b 3745q 3789 5022

Campo Marzio introduction
1997.12.23     4004p 5397h

other Quondam branches
1997.12.23     224a

I was doing Stella, frankly
1999.12.23 15:53     3774

Do dictionaries help us understand?
2000.12.23     3763 5006

"Style Besides Sorrow"
2001.12.23     3736k

shock in Philadelphia
2001.12.23 12:00     3728e 3744b

Re: Void to Avoid
2001.12.23 12:00     3784g

Deshler-Morris House     1773
P.S.F.S Logan Branch     1926
2001.12.23

What are you researching?
2005.12.23 15:24     8210p

What's good in your hood
2005.12.23 15:51     4011j

Jimmy Venturi's new website...
2005.12.23 16:06     3787d 4016d

River City Fantasies
2006.12.23 09:46     3666n

pragmatists turning political?
2008.12.23 14:32     3332w
2008.12.23 20:29     2195 3332v 3726c 3770x

23 December
2012.12.23 16:31   2305c 3300t
2012.12.23 17:30   2305 3300t

23 December
2013.12.23 19:47   e2527 e2607b e3016e 3307 3739i 3744d 3754k 3771k 3792h

architectural otherness
2015.12.23     3710r

Art vs. Arch.
2016.12.23 12:27     3314v

Vallet de Martinis.DIID   Museum of Ethnography   Városliget Budapest

MOS.Workshop-HI   Barack Obama Presidential Center   Honolulu



01122301 ICM various plans   2110i49


2008.12.23 20:29  
pragmatists turning political?
I'm using "reenactionary" more in terms of how ZP's designs 'reenact' the mat/box/blob paradigm of Le Corbusier's Electronic Calculation Center Olivetti at Rho-Milan. Although intrigued by ZP's 'new politics of the envelope' I'm not sure 'politics' is the right word to describe what it's really about, but it might just be right.

ZP notes how in the past it was in the plan where 'politics' was found, whereas he now see the politics in the envelope, and there seems to be something to that. Just recently I looked closely at the plan of the Palace of Versailles (when I was also reading ZP's essay in Log), and besides the political implication of the King's Bedroom on axis in the center, the similarity in plan of the Chapel and the Opera off to the side respectively got me thinking not just of their relative marginal positions, but how both plans represent 'theaters'. Anyway, if ZP's politics of the envelope can operate/communicate in the same type of way, it seems that would make for a novel/fecund design methodology.

11122301 UNEP Headquarters axonometrics scale play   2235i06


12122301 House for Otto 3 wall and column extrusion capped IQ03   2309i03


13122301 rotated extruded mesh surfaces orthagonal solid models   2403i30   b


I'm now wondering whether the above image of Castle Howard from Vitruvius Britannicus (published 1715-1725) somehow inspired the architecture of Piranesi as delineated within Il Campo Marzio (1762). Remember the...

I was prompted by the "what is experimental architecture" thread to look again at "Piranesi's Campo Marzio: An Experimental Design." After reading a few pages it became evident that the essay/project could be 'rewritten' to deliver a whole other set of results, a whole other 'history.'

By covertly publishing the Ichnographia in a second state was Piranesi himself conducting an experiment to see who would ultimately discover the two different plans?

Piranesi's language of the plans relates back to the origins of Rom(ulus and Remus) itself.

"Both Piranesi's Campo Marzio and Picasso's Dame au violon are "projects," though the former organizes an architectural dimension and the latter a human mode of behavior. Both use the technique of shock, even if Piranesi's etching adopts preformed historical material and Picasso's painting artificial material (just as later Duchamp, Hausmann and Schwitter were to do even more pointedly). Both discover the reality of a machine-universe: even if the eighteenth century urban project renders that universe as an abstraction and reacts to the discovery with terror, and the Picasso painting is conceived completely within this reality.
But more importantly, both Piranesi and Picasso, by means of the excess of truth acquired through their intensely critical formal elaborations, make "universal" a reality which could otherwise be considered completely particular."
Manfredo Tafuri, Architecture and Utopia: Design and Capitalist Development, p. 90.
There is no Picasso painting with the title Dame au violon, but it is possible that Tafuri is referring to Portrait of a Girl (1914):

Project: redraw the Ichnographia Campus Martius following the principles of Picasso's (Synthetic) Cubism.

14122301 Villa à Garches 1100x550 plan Pruitt-Igoe/NNTC   2151i00
14122302 Composition Three 1100x550 plan Pruitt-Igoe/NNTC   2155i00
14122303 Picasso's Portrait of a Girl trace for cubist ICM   2436i01   b
14122304 Kennedy Plaza 1100x550 plan image attached   2093i37


14122301   Vallet de Martinis.DIID   Museum of Ethnography   Városliget Budapest
14122302   MOS.Workshop-HI   Barack Obama Presidential Center   Honolulu


17122301 Appian Way Ichnographia Campus Martius Las Vegas Strip Roma Interrotta plan images   2063i01   b
17122302 Johnson Wax Building and Research Tower plans section   216di01



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