Architecture in Critical Condition

1


2008.09.24 14:34
How can a building be 'critical'?
Stephen Lauf, Architecture in Critical Condition (Quondam, 2008).
from the series:
Architecture in Undetermined Condition
Patient is awaiting physician and/or assessment.
Architecture in Good Condition
Vital signs are stable and within normal limits. Patient is conscious and comfortable. Indicators are excellent.
Architecture in Fair Condition
Vital signs are stable and within normal limits. Patient is conscious, but may be uncomfortable. Indicators are favorable.
Architecture in Serious Condition
Vital signs may be unstable and not within normal limits. Patient is acutely ill. Indicators are questionable.
Architecture in Critical Condition
Vital signs are unstable and not within normal limits. Patient may be unconscious. Indicators are unfavorable.

[sic]   4702

To ERr with SuperGlue   4703

Bilocation Syndrome   4704

Going into Eclectic Shock/Therapy   4705

Surgical Double Theater   4706

Waiting Room, Anxious, Reading, Liszt   4707

Operation a Success; Patient Dead   4708

Malpractice Case: Houses   4709

Eternal Wrest   4710

2008.10.19
chapters of AinCC
1. [sic]
2. To Err with SuperGlue(TM)
3. Bilocation Syndrome
4. Going into Eclectic Shock
5. Surgical Double Theater
6. Waiting Room: Anxious, Reading, Liszt
7. Operation a Success; Patient Dead
8. Malpractice Case: House
9. Eternal Wrest
For [sic] I can collect all the various mistakes I've found over the years, starting with Immaculate Conception. It would be possible to limit the chapter to this material. I'll know better once the bulk of the material has been collected.
To ERr w/SG could be the whole Eisenman as Piranesi expose and an unraveling (somewhat) of Tafuri's interpretation (of the Campo Marzio). The missing notion of reenactment within "dans le boudoir" could happen here.
Bilocation Syndrom could be all about IQ and how it operates. Perhaps including thoughts on virtual and real and how there can be two places where things occur (simultaneously?).
My thoughts for Eclectic Shock were all about the recombinant architectures stuff. I suppose that's the point, but I'd like good shock to be involved as well.
Right now I have no idea what "surgical double theater" is really about. I suppose I could go through TX2 and TX2, too for further ideas and hope that that's enough. The surgical aspect may occur in cutting the various double theaters open and thus finding new meaning, inspiration, modus operandi, etc. I could take all the sic items and operate on them, but not ultimately be able to fix it all.
"Waiting Room: Anxious, Reading, Liszt" could have something to do with copyright-free texts and altered texts and lots, lots of them--the wordiest chapter of the book that doesn't really have to mean anything. (At this point I got Encyclopedia Britannica to read about Liszt.)

2008.10.20
AinCC, continued
Another possibility for "Waiting Room" is to tackle the Working Title Museum.
Now, what is "Operation a Sucess; Patient Dead" going to be about? I have no idea right now. Is it a joke like the expression of the chapter title itself? Is it a paradox? How is architecture (today) a paradox? Does it have to do with really being metabolic? Being creative/destructive? That would certainly be a fine lead, and I'll have to go over my metabolic material and maybe just formalize it all.
"Malpractice Case: Houses" is all about my zany domestic architecture designs and how they got to be that way.
"Eternal Wrest" will have to do with reenacting with a twist as a constant generator of originality.


2009.04.07
Arch. in Critical Condition
The idea came to me earlier today as to how to execute the writing of AinCC throughout Quondam (and maybe even within Museumpeace). The title page will be essentially a table of contents and under each chapter heading will be the page links of each page of the chapters. This follows the same format as the building pages at Quondam.
This set up allows the pages of the "book" to be anywhere throughout Quondam, even within pages that already contain content. And each section of text links to the previous and next section of text, and back to the title/contents page. What I really like is how the text of Ain CC can/will easily interact with any of the other content of Quondam. And indeed the interaction is now to be part of the design of composing AinCC.
Of course, this type of format can be applied to any other "books" I'd like to execute.

2008.11.13
appositional architecture
On 2002.02.03 I wrote a note regarding "appositional art" and also the notion of wqc/appositions, but concluded with not being sure what appositional architecture is. It now seems that I do know what appositional architecture is, and I've been doing it via the "recombinant architectures" and IQ and even the first two Houses for Otto, House of Ill-Repute 001, Le Composites, Cut & Paste Museum. I can at least begin to collect/list all the examples at Quondam of "appositional Architecture" and outline a display of the work. Begin also by making a CAD database collection of the various plans.
There seems to be a thin line between appositional (architecture) and superimpositional (architecture), yet the 3-dimensional nature of architecture actually can simultaneously accommodate apposition and superimposition. For example, the HQ of DATA is appositional in elevation and superimpositional in plan. (...which now reminds me that there are no hline elevations of HQ of DATA.) I like this interesting double aspect that architecture can facilitate (and I wonder if this could be part of "Surgical Double Theater"--yes).
Actually "Going into Eclectic Shock" was/is going to be about my recombinant architectures, so either it all somehow comes together or it begins to interfere, or contradict. [2009.04.07: eclectic shock could deal with mixing/recombining architectures from different eras into new wholes.] Is appositional architecture and superimpositional architecture somehow going to be the overriding aspect/motif of AinCC?
Anyway, look at/collect the appositional letters/arguments and further develop them.



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