14 December
1710 death of Henry Aldrich
1843 death of John Claudius Loudon
ideas
1999.12.14
Metamorphosis & Metabolism
2000.12.14
Language & Voice
2000.12.14
2000.12.14
Language & Voice (and context)
2000.12.14
Piranesi in color
Quondam
2000.12.14
Re: think you'll like this
2002.12.14 11:58
031214a.db Palais des Congrès (without box walls) model in register at Franklin Institute within 031213b.db
031214b.db Palais des Congrès (031214a.db) within Parkway quadrant model (031213b.db)
031214c.db Palais des Congrès on Logan Circle hline perspective (raw)
031214d.db Palais des Congrès on Logan Circle hline perspective (raw)
Re: which Acropolis do you prefer?
2003.12.14 12:25
2003.12.14 15:28
2003.12.14 16:27
2003.12.14 17:42
Re: Fwd: state of the archive
2004.12.14 12:24
Fantasy Architecture?.....
2004.12.14 12:45
where the Barnes might move to
2004.12.14 13:04
Re: fleeting architecture
2004.12.14 14:14
2004.12.14 15:07
images so far never on paper
2004.12.14 14:19
Re: where the Barnes might move to
2004.12.14 16:11
Iranian Leader Denies Holocaust
2005.12.14 12:54
Shape and Form
2008.12.14 10:40
08121401.db ICM, scanned plans in position
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Language & Voice
2000.12.14
Paul says:
Yes, a building affords a sequence of perceptual events, each which may entail recognition of an architectural "noun," but a mere sequence is not the same as a sentence with a predicate, stating a connection between a subject and object. Beyond the "manifests" or "represents" there is no architectural verb, is there? We may interpret, or "read into" the sequence an implied meaning, but the observer brings to the experience that meaning. What does the Danteum MEAN if I don't know the literary program? It is merely a perceptually effective sequence of formal episodes.
Steve adds:
A "perceptually effective sequence" is something that an architect can intentionally design. Le Corbusier did it at the Villa Savoye, which is "understandable" without referencing any literary source. Le Corbusier also did it within the Palais des Congrès (1964), Terragni did it within the Danteum (1938), and James Stirling did it within the Museum for Nordrhein-Westfalen (1975) and within the Wallraf-Richartz Museum (1975). Sadly, none of these later building designs were executed, hence their designs are not prominant examples within architectural history. It was precisely the sequences within these designs however, that prompted me to create computer models of these buildings (in the early 1990s). I also wrote several articles and essay on the "promenade architecturale" which were published at www.quondam.com. My point now is that, had these designs been built, just maybe there might now be a far better understanding (and hence better teaching) of just how effective a deliberately designed architectural sequence can be.
Granted, any architect designed "preferred route" can be misunderstood or even ignored by a building's user, but that shouldn't prevent architects from at least trying to add "architectural language" to how a building is moved through.
What I find most interesting about designing architectural sequence is that the sequence itself is not actual form, rather the gaps between actual forms. For me, it's another example of learning from lacunae.
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