25 September
1506 death of Philippe le Beau
1892 death of Edmond Jean Baptiste Théodor René Joly
96092501.db Campo Marzio most of Horti Neroniani, original scale
96092503.db Campo Marzio southeast corner, original scale
96092504.db Campo Marzio southeast corner (ortagonal), original scale
96092505.db Campo Marzio various plans (orthagonal), original scale
96092506.db Campo Marzio axis of life orthagonal, original scale
96092507.db Campo Marzio contiguous elements
96092508.db Campo Marzio contiguous elements
96092509.db Campo Marzio Bustum Hadriani analysis (Lauf)
96092510.db Campo Marzio Horti Luciniani started in 3D
96092511.db Campo Marzio first schematic redrawing
96092512.db partial Campo Marzio plan (Horti Neroniani) superimposing the B.F. Parkway
96092513.db partial Campo Marzio plan (Horti Neroniani) superimposing the B.F. Parkway with street grid cleared
96092514.db partial Campo Marzio plan (Bustum Hadriani) superimposing the B.F. Parkway at Logan Circle
96092515.db Campo Marzio west of the Tiber, etc. (orthagonal), original scale
96092516.db Porticus Neroniani, Villa Rotunda, 5233 Arbor St.
96092517.db Porticus Neroniani and Eakins Oval
96092518.db Porticus Neroniani and Villa Rotunda
96092519.db Analogous Building, perspective
96092520.db Analogous Building, perspective
96092521.db Analogous Building, plans, model
96092522.db World Trade Center, model in context, from VSBA
96092523.db Museum of Arts and Crafts, elevations, perspectives
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1999.09.25
ideas
[packaging
2000.09.25
"appropriate response"
2001.09.25 07:49
I Was Doing Stella, Frankly
2001.09.25
Re: The Large Glass
2002.09.25 07:15
Re: targets
2002.09.25 10:57
"zoned commercial"
2002.09.25 12:02
[tolerance, as in] found and lost
2002.09.25 14:36
Re: The Evolution of Functionalism
2003.09.25 09:46
Re: self destructive art scene
2003.09.25 18:38
MVRDVs Serpentine
2004.09.25 13:36
Re: Ridiculing Contemporary Art: Britain's New National Pastime?
2004.09.25 13:41
Re: technically well designed stuff
2004.09.25 15:40
My Peace of Splendor
2004.09.25
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Ludwig Mies van der Rohe, Court-house with garage, 1934.
ASY Saloon, 1934.
Telefunken, Model SE-111 (1934 Berlin Radio Exhibition: 180-line electronic television, 1934-35).
page from Sears Catalog, Spring 1934.
Nazi Party Day Rally, Nürnberg, 1934.
scene from Gift of Gab, 1934.
remove
1999.09.25
Write a responsive novella to Unstudio's new book MOVE in some kind of metabolic fashion. Originally, the thought was to write a long email and send it all over as usual, including to Unstudio itself. Right now, however, it's best to make the novella a set of web pages within schizophrenia + architectures, and then send some of the finished texts via email.
The outline:
1. regarding the whole notion of architects being fashion designers of the future:
a. fashion designing stories ending with "it's kissing me"
b. fashion as basically a quarter-yearly planned obsolescence
c. fashion is trend and pretense--it always seeks what's next but never represents what we really look like.
d. fashion is all about seams (seems???)
2. MOVE is on a wavelength that completed its first oscillation sometime like 15 years ago. Ironically, it was in 1985 that Philadelphia dropped a bomb on itself because of the MOVE people. "Lights, camera, Africa!"
3a. the technique book addresses new dexterity and it should say as much.
3b. the writing on the imagination tries its best to be provoking but it far from profound.
3c. the real effect is reenactment (of SMLXL, mobius, diagrams)
4. a response to no columns.
5. regarding hybridization, the main character is a hybrid--total European blood yet total American, and hinting at masculine/feminine nature as well. The composite face is akin to genetic alchemy.
6. the art being all about exploring (at least not hidding) seams.
7. the combined texts add up to more than your typical issue of Time magazine.
8. not only do architects have to catch up, but they already should be beyond what MOVE propogates. Architects need to be conscious of what mode/type of imagination they are using and also what type of imagination is appropriate for a particular design project. As to technique, book publishing is no longer necessary and the technique is old and not at all a practice of what is being preached. Web publishing is the way today, but maybe that is too seamless. And for effect, demonstrate how a single individual architect with a computer or two could alone run an office where design becomes the ongoing manipulation of existing digital data, which is essentially infinite, limitless in how it can become something new.
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