13 February

1746 John Vardy was appointed clerk of the works at Chelsea Hospital

1840 death of Charles Pierre Joseph Normand

Museum for Nordrhein-Westfalen   2226e
1998.02.13

"...Re: Stirling's Muses" Part 2
1998.02.13     5754

"being the information"
2000.02.13 09:52     4402d 4403e

Re: you want moldings?
2002.02.13.10:05     3301q 4059

a double [post-cinematic] theater?
2002.02.13 10:13     3232b

mixing things up
2003.02.13 10:25     3142c 3204e 3730f 4600d

review of art work(s)
2003.02.13     2392 6100

Re: Larry Poons
2003.02.13 10:25     3301q

Re: plagiarism
2003.02.12 12:33     4114

Re: of castles, fortifications, etc.
2004.02.13 12:44     4062 4077 4114 4402f 4403i 4715 5015 5071 5103

gas jet explosion at Olney & Ogontz Philadelphia
2004.02.13     3301p

Thread Central
2006.02.13 14:22
2006.02.13 18:14     5600o

Anyone support tearing it down?
2007.02.13 13:05

Artificial islands from all around the world
2007.02.13 14:16     5600p

pragmatists turning political?
2009.02.13 08:24     3301p 4402g 4403j 4706b 7802d

13 February
2013.02.13 14:13     3301p 3301q

on Courthouse Plus Ultra
2013.02.13 14:13     2399 4800i 5500h

13 February
2014.02.13.21:55     3307w 4711i

This is Why We Can't Have Nice Things
2015.02.13 16:13     3265g 3310d 3754e

2002.02.13.10:05
Re: you want moldings?
Thanks for sending the jpeg. Neat stuff. The thing about the Muratori moldings, though, is that I don't think Venturi ever mentions his name or architecture anywhere in print. That doesn't mean that Venturi didn't know about this building, but there is no proof outside Venturi's admission himself that he did know the building. Then again, if the building was under construction or just new when Venturi was at the American Academy in Rome, then one can assume he did indeed see the building.

Saverio Muratori, Palazzo of the Christian Democratic Party, EUR, Rome, 1955- 58.

2014.02.13 21:55
13 February
"By that time I had begun to understand architecture, and we were ready to stage the first faculty occupation of the department. There had been earlier demonstrations all over Italy. In any case, the first was in 1958. It was deeply flawed, because our pretext for demonstrating was the introduction of the state exam for architects. We were a bit cynical, and we thought we needed to come up with arguments that would stir our ignorant colleagues to action, to stage something that would violently shake up the entire department.
The most important thing is that we were looking for pretexts, weak links in a chain, in order to effect disruption. We used to say that we had a little bit of the whole world concentrated within the department. But that whole world was conceived, as Antonio Cederna taught, as a protest against corrupt building practices from which emerged a political comprehension of the situation. All of us followed the trial of Salvatore Rebecchini/L'Espresso with tremendous anxiety, not least because it was our bible. And we found that we had in front of us at a certain point Saverio Muratori, a figure who taught fourth- and fifth-year design studios. He had just arrrived in Rome from Venice, and was a well known personality. Muratori was the architect of the Christian Democrat office at the EUR. He was someone unique, someone who had strong intellectual resonance, someone who could really think. He proposed a rather tragic vision of history, because for him the crisis began at least inthe 18th century. It seemed like one didn't need to think so much about [Hans] Sedlmayer, but rather about someone who had contemplated the crises in isolation and suffered considerably; suffered for the world. These crises seemed to be the crises of European science, of Husserl. Muratori, advocating an extreme reductive culture, was against everything that was modern. This is the point. He thought that true modernity meant that everything should start all over again. This was a facinating point of view.
We could not allow ourselves to think about these things because they were minor in relation to certain much larger problems. But Muratori was the person we wanted to confront because he was invulnerable. He refused to talk with us because his way of thinking only functioned if it remained closed to dialogue. At this point he realized that he was just another weak link, so we organized the operative concept of "libera d'insegnamento" [freedom of teaching]. And then there also had to be "freedom of learning.""
Manfredo Tafuri, "History as Project: An Interview with Manfredo Tafuri" (1992).



010213a   Electronic Calculation Center Olivetti plan   231ai07


2002.02.13 10:13
a double [post-cinematic] theater?

The plan displayed looks like an actual double theater of sorts.


2003.02.13 10:25
Re: Larry Poons
I wish museums mixed things up more. For example, I'd like to see Poons in a French period room, or Duchamp in a Ladies Room. Brancusi next to armour, why not? Museum as future-shock, sort of. Pick your destiny
Hold me! Thrill me! Kiss me! You're my pride and joy, etc. Now rearrange me.

2004.02.13 12:44
Re: of castles, fortifications, etc.
Great stuff.
New Jerusalem, Bryn Athyn Cathedral (or Church of the New Jerusalem), Academy of the New Church, Glencairn, Cairnwood--all local (to me) architecture built with Pitcairn (the local 'Rockefellers') money--for a few years now I call it "a little land of reenactment."

Bryn Athyn is indeed a true Gothic (constructed) Cathedral in that all the stones are held together with gravity alone, perhaps the only true Gothic Cathedral built entirely in the 20th century. Although still large, it is nonetheless somewhat diminutive in that its scale is something like 2/3rds or 3/5ths the average Gothic Cathedral. The overriding symbolism of this Church goes un-noticed by most--nothing in the design is straight, level or exact; column spacing is always slightly off, all walls slightly bow, there is a slight curve of everything, especially to whatever looks straight. Only God is perfect.
The administration building of the Academy of the New Church is a very early Mitchell/Giurgola building, whose design somewhat reenacts the design of Kahn's unexecuted Goldenberg House, which was to be build on a site just couple miles down from Bryn Athyn.
Louis Kahn's unexecuted Domincan Motherhouse of St. Catherine de Ricci is chock full of symbolism--today, 13 February, is the feast of St. Catherine de Ricci. I guess I'll visit Elstowe (for the first time) today, and then maybe go take pictures of the castle at the quondam Beaver College.
The Egyptian walls of hieroglyphics and the Berlin Wall of graffiti.
The metabolic urbanism of contemporary Israel.
The secret symbols of Piranesi's Ichnographia Campus Martius.
It's a real joy to still see cedar trees growing in a place long ago called Cedar Grove.

2006.02.13 14:22
Thread Central
It turns out I was at Metropolis Books 24 June 1988, and I do remember admiring the shelves.



2006.02.13 17:41
Architecture As A Cult
The Horace Trumbauer Architecture Fan Club is definitely a cult, and a very exclusive one at that. There are people literally dying to get in it.


2006.02.13 18:14
Thread Central

designed and built by myself 1985
door on right original, door on left added, as is everything inbetween
the current highlight...

2007.02.13 13:05
Anyone support tearing it down?
I found the perfect replacement!



2007.02.13 14:16
Artificial islands from all around the world



2009.02.13 08:24
pragmatists turning political?
Is any of what you wrote above closely related to "architecture as delivery of content"?
imaginative
scientific
fictive
Are there architectures that perform assimilatingly? metabolically? osmotically? electro-magnetically? ultra-frequently?
per..........form
re..........present
re..........enact
ars ludi


09021301 IQ B.F. Parkway landmarks plans
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10021301 ICM

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