Re: logical software
...you may have in the past seen me make reference to The Timepiece of Humanity and/or chronosomatics... ...this text comprises the initial results of my 'reading' the hardware and software of the human body as an architecture delivering content.
There was also a time when I considered composing The Body, the Imagination, and Architecture were the physiological operations of the body (fertility, assimilation, metabolism, osmosis, electro-magnetism, ultra-frequent synapses) are explored as also engendering 'physiologies' of human imaginations (fertile imagination, assimilating imagination, metabolic imagination, osmotic imagination, electromagnetic imagination, ultra-frequent synaptic imagination) which were then explored as further engendering physiologically categorized architectures (fertile architecture, assimilating architecture, metabolic architecture, osmotic architecture, osmotic architecture, electromagnetic architecture, ultra-frequent synaptic architecture). There are many unpublished notes and some drawings pertaining to this project.
Re: This month's WIRED - Koolhaas
KOOLWORLD is beginning to look and taste like generic frozen food after being microwaved.
REPORTAGE- Rhythm & Gender
I like the list (above); like chapters, like lessons, like evolutionary stages, like different floors of a building I'd love to design, like a row of restaurants while you're perpetually hungry.
Le Corbusier is very high on my list. Go to Harvard's Loeb Library to see my analysis of his unexecuted Palais des Congrθs--they were the only ones to purchase both the slides and drawings published in 1991.
Early Mies still intrigues.
Gropius never really inspired me at all.
What I find historically interesting is a comparison and contrast of Freud's first visit to Rome (gen Italia) and Le Corbusier's first visit to the Acropolis.
I'm not sure the Romans ever built in the Doric order. Composite was indeed their order of choice.
Seutonius relates how a delegtion from India came to Rome during the reign of Augustus. This makes me really wonder why the Mausoleum of Augustus in Rome and the Great Stupa in India are virtually identical in size and design.
Why do you think Piranesi first delineated all the circuses of the first printing of the Ichnographia Campus Martius in a stylized manner, and then (unnoticed for over 200 years) changed all the circuses into copies of the Circus of Maxentius in the second printing of the Ichnographia Campus Martiis? Piranesi sure knew how to paint a quaestio abstrusa!
You know how Eutropia confessed that (her son) Maxentius was a bastard soon after Maxentius died in battle against Constantine? Well, I hear Eutropia recently made another confession as to how Maxentius' real father was Diocletian!
060518a Romaphilia Philadelphia base map with Great Pyramids
What I see in LOST is the same type of convoluted (complicated; intricately involved) storyline filled with clandestine, sort of encyclopedic clues. What seems somewhat unique to LOST though is its way of character development via real time portrayal and flashback. This operation manifests (at least) a double theater, which is a very fecund, indeed baroque, story-telling vehicle that is not often used.
09051801 IQ section 8 museum plans
09051802 IQ section 8 Danteum, model
09051803 IQ section 8 Museum of Knowledge, model
09051804 IQ section 8 Haus der Kunst models
09051805 IQ section 8 Museum of Arts & Crafts, model
13051801 Dresdner Bank plan scan
14051801 Acropolis Q on the Parkway plan 22002 in situ
14051802 Mosque Q plan 22002 context
14051803 Sober House 2 plan 22002 context
14051804 House of Shadows Bye plan 22002 context
14051805 Savoye Hystιrique plan 22002 context
14051806 Stoner Food Restaurant plan 22002 context