12 December
projects
BIA
BIA/TPH
BIA
initial outline of chapters
schematic introduction
schematic chapter 2
schematic chapter 3
schematic chapter 4
schematic chapter 5
schematic chapter 6
schematic chapter 7
1995.12.12
Re: Beauty and the Box
1998.12.12 20:47
(eighth of) Top 10
1999.12.12 16:18
..... language [and innuendo?]
2000.12.12
Re: Seagram's Art & Architecture
2002.12.12 12:46
actually ethanol tit
2003.12.12 10:38
test the slopes
2003.12.12 12:41
Bernard Tschumi - Concepts vs. Contexts
art
2003.12.12
Re: Fwd: state of the archive
2004.12.12 10:48
2004.12.12.12:24
2004.12.12.12:29
Philadelphia Museum of Art
2005.12.12
The Greatest Thesis Titles EVER!
2005.12.12 11:38
2005.12.12 12:40
jpg du jour
2005.12.12 13:40
2005.12.12 18:37
What's on your gift list this year?
2005.12.12 15:14
grass growing from the ceiling, possible!?
2005.12.12 15:25
2005.12.12 15:40
Architecture as Signal
2005.12.12 16:00
2005.12.12 19:46
2006 Pritzker Prize
2005.12.12 16:27
Favorite classical composers and compositions
2005.12.12 18:55
Gift Ideas for Coworkers?
2005.12.12 19:03
Farmadelphia
2007.12.12 14:54
2007.12.12 15:37
2007.12.12 17:20
2007.12.12 18:21
2007.12.12 19:55
2007.12.12 20:53
40 Jahre später, Le Corbusier´s "letztes Werk" (DE)
2007.12.12 16:14
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Szambien also deals with the "Grand Durand," the Recueil et parallčle. In this book of comparative history of architecture, the first of its kind, Durand "corrects" the architecture of the past, making it more rational and economic, so that the historical masterpieces, drawn to the same scale, can fit his typological classification. The Recueil was different in many ways from later 19th-century typological manuals. Szambien emphasizes that it was reprinted throughout the 19th century and also in the 20th century, in 1915 in America and in 1909, 1936, and 1981 in France. Its explicit impact was greater than that of the Précis, but it was obviously founded upon similar assumptions. Durand and Legrand set out to write the first "scientific" history of architecture, correcting the "mistakes" of Piranesi. There are, however, many false reconstructions.
Alberto Pérez-Gómez, 1986.
In 1809, John Soane erected an unusual two-story gallery, lit from above, behind his next-door neighbor's house at No. 13 Lincoln's Inn Fields. Soane, whose office and residence were at No. 12, at first called the structure a "Plaister Room." Later, he termed the gallery a "Museum." Within it, the architect arranged his casts and antiquities, which soon covered the walls from floor to ceiling.
Susan G. Feinberg, 1984.
A realistic acceptance of a "difficult unity of inclusion" eschews a simplistic control, one which perhaps excludes a whole minority group in politics or a whole neighborhood in planning. The determination of what precisely should be included and excluded, and when it should be done, is no easy judgment and, indeed, is personal. However, the goal of "inclusivism" is the development of a pluralist sensibility, one which enables that decision to be made with sensitivity to multifarious identities.
Gary Wolf, 1973.
In the same year, 1971, Manfredo Tafuri presented the first in a series of even more idiosyncratic studies of the Carceri, seen as a "negative utopia." He is still pursuing this theme, not greatly regarded by scholars, though greatly admired by architects of intellectual pretension. Another field of investigation that has now become something of a cult is the analysis of masonic themes in Piranesi's work.
Robin Middleton, 1982.
It was also the custom then to celebrate the anniversary of martyrdom with a vigil and feast that have been compared to an Irish wake, and even the anniversary of death of ordinary Christians was commemorated with a banquet. These buildings functioned then as a sort of banquet hall as well as cemetery--at least until the bishops Ambrose and Augustine undertook an attack on these customs.
Gregory T. Armstrong, 1974.
First, that what Vanbrugh and Hawksmoor did was, for their time, original, and that being original, it was difficult for many people to accept. And secondly, and more interestingly, that is a real sense their work was indecorous, that it traduced traditions while still using them and at a time when traditions were themselves a part of general culture and important and accepted.
David Cast, 1984.
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