18 July

315 Constantine arrives in Rome to mark the beginning of his decennalia

1334 Giotto laid the foundations of the campanile of the cathedral of Florence

1514 four models were presented for reconstruction of the burned out Rialto quarter in Venice

1635 birth of Robert Hooke

1790 birth of John Frazee

Ichnographia as a base for Quondam models
1998.07.18     2170 2257 2266 2267 2269 2278 2285 2292 6100

The place where the bodies of the dead were burned and buried under Hadrian
2001.07.18     e2589a e2589b e2589c e2589d e2612 e2618 e2909a e2933 e3063

on aesthetics
2007.07.18 08:35     3754b 3770p 4500m
2007.07.18 09:37     3754b 3770p 4500m
2007.07.18 09:56

The Philadelphia School, deterritorialized
2012.07.18 15:45     4022 4028 4076 4097 424a
2012.07.18 19:04     4000f

18 July
2013.07.18 13:13     3155f 3261c 3304 3732c 3771g 3899c 4600l
2013.07.18 18:20     3155f 3261c 3304 3732c 3899d 3899g

17 July
2014.07.18 17:22     3309b

The Vanna Venturi House is for sale
2015.07.18 17:12     3311k 780ao
2015.07.18 17:23     3311k 7700p 780ao
2015.07.18 17:51     3311k 780ao
2015.07.18 19:00     3311l


040718a Tower for Princeton Memorial Park model
040718b Tower for Princeton Memorial Park model
040718c Mikveh PMP plan
040718d Mikveh PMP model plan

2007.07.18 08:35
on aesthetics
The fractured standard is just that, fractured. There is no universal, and indeed there never really was. Just look at what was going on (somewhat globally) in the early 1730s. There is no real universal standard, rather standards were then (and still are?) relative to place.

2007.07.18 09:37
on aesthetics
I'm not exactly sure how "any definition of place is going to be arbitrary."
There is a somewhat unquestioned methodology to architectural history, which categorizes types of architectures by period (time) and location (place). And this is mostly a Western European standard. Yet architectural history is rarely written where it demonstrates how types of architectures actually overlap when architecture is culled from all over the globe at any given time.
If you're not arbitary about place and simply say the globe, and then look to see what types of architecture were being done (on the globe) at any given time, you'll see just how diverse architecture always was. Interestingly, this is how we judge the present (and conclude that standards are fractured), but it's not how the past is/has been judged.
I agree that architecture for the most part is arbitrary in the sense that most architecture reflects a set of specific decisions (arbitration), but only a small percentage of architecture is outright whimsical. Personally, it's refreshing to see just how diverse architecture has always been.
Otherwise, the real modus operandi of aesthetics is "what is the cash value?"

2007.07.18 09:56
on aesthetics
aesthetics :
1. the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art, and the principles underlying or justifying such judgments.
2. the study of the mind and emotions in relation to the sense of beauty.
I'm not really sure how much science is involved. Like eo mentioned, "the cognition people are making it up as they go along."

07071801 Le Composites plans
07071802 Le Composites elevations
07071803 Domesitc Museum plan collection   2170i21 2166i22
07071804 Domestic Museum site plan

2012.07.18 19:04
The Philadelphia School, deterritorialized
I just went to vsba.com and found out that Robert Venturi is now retired from practice and Denise Scott Brown is remaining busy publishing and exhibiting her work. Now see venturiscottbrown.org.
I'm sitting here feeling a very real deterritorialization.

13071801 Almost Semiquincentennial House model perspectives axonometrics
13071802 New Not There City World Trade Center model perspectives

2013.07.18 13:13
18 July
...some Borges, some Capote, some Quondam
"A labyrinth of symbols," he corrected. "An invisible labyrinth of time."
"...I questioned myself about the ways in which a book can be infinite. I could think of nothing other than a cyclic volume, a circular one. A book whose last page was identical with the first, a book which had the possibility of continuing indefinitely."
I have taken on the mysterious duty of reconstructing literally his spontaneous work. My solitary game is governed by two polar laws. The first permits me to essay variations of a formal or psychological type; the second obliges me to scarifice these variations to the "original" text and reason out this annihilation in an irrefutable manner...
Some years earlier, Lillian Ross had published Picture, her account of the making of a movie, The Red Badge of Courage; with its fast cuts, its flash forward and back it was itself like a movie, and as I read it I wondered what would happen if the author let go of her hard linear straight-reporting discipline and handled her material as if it were fictional--would the book gain or lose?
...I wonder what would happen if the architect let go of his straight-curating discipline and handled the material as if it were fictional--would the museum gain or lose?

2013.07.18 18:20
18 July
I understand you are staying at the new hotel. La Bataille. How do you find it?
Very pleasant. In a bit of turmoil because they are in the process of opening a casino. The man in charge of the casino is called Shelley Keats. I thought it was a joke at first, but that really happens to be his name.
Marcel Proust works at Le Foulard, that fine little seafood restaurant in Scheolcher, the fishing village.
Semiquincentennial: an almost novel architectonics
Miers Fisher Jr. and Helen Gregoroffsky reunited




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