www.quondam.com/10/0920.htm

20 September

book
1996.09.20

museum shop
Campo Marzio
Quondam
redux
1997.09.20

990920a.db Governor's Palace, plans, elevations, site plan
990920b.db Conference Room of the Olivetti Headquarters, model
99092003.db Breslauer Platz, model
99092004.db Maison Dom-ino, Third Composition, models
99092005.db Maison Dom-ino, Third Composition, plans
99092006.db Villa à Garches, model
99092007.db Villa à Garches, plans, perspectives, axonometrics
99092008.db Governor's Palace, model
99092009.db Villa Savoye, model
99092010.db Villa Savoye, plans, elevations, perspectives, axonometrics
99092011.db Palais des Congrès, plans, perspectives, axonometric

museum space
2000.09.20 15:11

Quondam
scans
/pieces
2000.09.20

Re: travels in hyper-reality
2001.09.20 08:48
Re: never trust an architect
2001.09.20 13:15

metabolic/delivery
2001.09.20

030920a.db Philadelphia, Great Pyramids, model

reading MOBILE
2004.09.20 13:47
Julian Abele wept 20 September 1938
2004.09.20 14:37
Julian Abele and James Stirling
2004.09.20 15:12

Leni and Lake Lenape
Le Corbusier and Hejduk
unhappy Helena
2004.09.20

life-changing books
2008.09.20 15:08
2008.09.20 15:39

Re: travels in hyper-reality
2001.09.20 08:48

The use of the word artificial in your argument is the tricky one. The reality is that themed environments are very real, and the money they produce surely goes a long way to prove that. Moreover, the notion of reenactment in architecture is not limited to themed environments/buildings. Within reenactment there is always a play of degrees of separation from that which is being reenacted, therefore where exactly is the authenticity that you see in reenactments that keeps them from being artificial? It might now not be prudent to make a case based on artificial versus authentic, because that distinction is completely blurred anymore. For example, Wildwood, New Jersey is full of themed hotels that artificially evoke other places on this planet and even sometimes other places in the solar system, yet it is now exactly this concentration of artificiality that gives Wildwood its unique identity (i.e., authenticity).

Not to confuse the issue, but Wildwood is overall a concentration of what is being called the "doo-wop" style, which is basically hotels and other buildings all done in playful 50s and 60s modernism. Even back then, however, each hotel evoked a different theme via the hotel name and stylist quirks in the building details.

If you haven't already done so, I suggest you read through "The Idea of History, etc."

Re: never trust an architect
2001.09.20 13:15

The real point, however, is that Mohammed Atta was trusted on the terrorist side of things.

Q: Did he play a major role in 'designing' the attack?
A: Very likely. He certainly played a major role in executing the plan.

Q: Did he have a heightened understanding of "sacred" sites.
A: Very likely. He certainly played a major role in creating one.

Leni and Lake Lenapi
2004.09.20

Leni Riefenstahl takes up residence in Mays Landing, NJ at the abandoned(?) factory complex on Lake Lenapi. I'll have to go take pictures someday within the next month, and also do research on May (the history of New Jersey) and Mays Landing.

There might be some comparison and contrasts between Mays Landing and Penn's Landing (or is it Penn Treaty Park?).

Le Corbusier and Hejduk
2004.09.20

With Le Corbusier at Cape May (till the end of reenactment season or till the convention?), I was just wondering if Hejduk somehow gets involved. The combination of Le Corbusier, Hejduk and Izenour is indeed odd, but it might just be the perfect combination for New Wildwood architecture. (Is the Bye / Absecon House a precursor?

The Cape May Point bunker evokes Hejduk as much as it evokes Le Corbusier. I'm not sure where this may ultimately lead, but it is potentially interesting, i.e., potentially inspiring with regard to composing new designs.

unhappy Helena
2004.09.20

Helena is not at all happy with Antonina Harbus and her presumption that Helena did not discover the cross. I'm not sure how this (new) emotion plays itself out within the novel, but it might be the topic of 14 September--essentially Helena points out where "modern" history makes its mistakes, and then how these mistakes became compounded. (This is somewhat similar to Eutropia's unhappiness as to how she is given short shrift by "modern" historians.)

I also have to investigate what Gibbon writes regarding Helena and Constantine within The History of the Decline and Fall of the Roman Empire. This issue may become part of TOOO, but right now I'm just not sure. It would be interesting if Gibbon came to represent the point where "history" began to go wrong.

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