8 August

1669 death of François Anguier

1763 birth of Charles Bulfinch

1997 death of Paul Rudolph

chronosomatic architectures
1995.08.08     4402 4403

Redrawing the Campo Marzio
1997.08.08     e2624 e2745 e2759 e2907 e2908 e3102 3308u 4711b 5311f

Saint Peter's Basilica
1998.08.08     e2611 e2675 e2731 e2822 e2823 e2886 e2917

Sony Metreon
1999.08.08     2151

Re: Architecture @ Newcastle discussion
2000.08.08 12:21     5090 5401b

Ottopian House I
2001.08.08     2305d

damnatio memoriae and palimpsest
2001.08.18 13:19     3727b

a 1980s CAD exhibit
2001.08.08     3900c

Samuel Radbill Building     1954
Pincus Occupational Therapy Building     1954
2002.08.08

axis of synagogues
2002.08.08 20:10     3705h 4031 7801b

Congregation or Synagogue ?
2002.08.08 22:33     4031

Re: Bib. for Cyrillona’s Mariology?
2003.08.08 09:50     3728f
2003.08.08 15:45     3728f

"How Did This Happen Revisited"
2005.08.08 15:58     2092 2093 e2844a e310a 3728h 3900j

spreading like a virus...(discuss)
2007.08.08 11:20     3749m
2007.08.08 12:03     3749m 3899c 3899g
2007.08.08 12:11     3770p 4600g
2007.08.08 16:33

The arrogance of 'Architects'
2008.08.08 13:27     e2531 e2678a e3106a 3236d

...when coincidences spur a story
2012.08.08 18:38    

The Philadelphia School, deterritorialized
2012.08.08 18:38     4067 407a 4089 4091 4101 4107 4120 4127

Learning from Learning from Las Vegas (again)
2013.08.08 10:17     4142d

8 August
2014.08.08 14:56     3258d 3309d 3705t 560ab 7801f

Donald Draper at the Museum...
2014.08.08 16:25     3706d
2014.08.08 17:20     3706d
2014.08.08 19:03     3706d
2014.08.08 19:25     3600f 3706d
2014.08.08 19:40     3600f 3706e
2014.08.08 20:07     3706e


Horace Trumbauer, Whitemarsh Hall (Wyndmoor, PA: under construction, 1917.08.08)


Louis I. Kahn, Samuel Radbill Building (Philadelphia, PA: 1948-54).

2014.08.08 14:56
8 August






2000.08.08 12:21
Re: Architecture @ Newcastle discussion
Upon first seeing (in print) Michael Wilford's BSC Buildings at Newcastle in the early 1990s, I immediately recognized them as a beautifully evocative and provocative reenactment of Le Corbusier's Heidi Weber Pavilion (Zurich, 1963-67). I especially like Wilford's inversion whereby he creates a positive space (as opposed to positive building) under the separate roof. I admit to being envious of students that are able to study architecture within this small yet delightfully architectural compound, and I have likewise wondered what teaching effect (if any) such a design has on those studying architecture there. (I also have to ask, are the buildings extremely noisy when it rains?)


2001.08.08 14:04
LfLV arrived
...compiling another example of reenactment. If you're familiar with MVRDV's book Costa Iberica: Upbeat To The Leisure City (2000) you will see that they (MVRDV- Dutch architects and quondam Koolhaas employees) pretty much reenact Learning from Las Vegas.


010808a House for Otto studies   2219i02


2002.08.08 20:10
axis of synagogues
Ahavath Israel Synagogue (Kahn's first independent commission) was/is situated within a typical northern Philadelphia block of row homes where it is indeed atypical for a synagogue to be in the middle of the block. Nonetheless, Ahavath Israel is indicative of the large Jewish community living in northern Philadelphia, particularly along the North Broad Street corridor, during the first half of the 20th century. Although a large building within its immediate context, Ahavath Israel represents the smaller type of synagogue intended for more informal daily use by its neighbors.


2007.08.08 11:20
spreading like a virus...(discuss)
No one has yet mentioned the overwhelming desire for newness (parsed with a moderate-to-strong dislike/distrust of things old) which plays a key role in most of modern societies' choices. Sprawl offers that newness. Even small cities have to make themselves "new" to become attractive again.


2007.08.08 12:03
spreading like a virus...(discuss)
[googled "redesigning newness" and received no results]
Redesigning Newness: Architecture's Search for an Answer to Sprawl


2007.08.08 12:11
spreading like a virus...(discuss)
I wouldn't confuse the issue by right away associating 'newness' with 'stuff'. Concentrate on the newness factor, whether it's a brand new home or a renewed central business district, and start to imagine how newness can be somehow packaged differently.


2007.08.08 16:33
spreading like a virus...(discuss)
You could also say that sprawl is driven by the ability of Americans to invest a large amount of money in land/home ownership. Individual land ownership in Europe has always been a minority situation (and still too expensive for most). And you could well say that what became the United States was indeed founded on individual land ownership.


12080801 Mikveh Israel Synagogue Acadia NPHQB site plans 800' sq.  


13080801 mesh surface perspectives axonometrics  


14080801 Lauf Haus der Kunst plans study plans models perspectives


2014.08.08 16:25
Donald Draper at the Museum...
...of the Human Body?

Looks like he's there following Taylor Swift, which makes sense because word is that Draper left advertising and now works undercover for the Fashion Police: Special Victims Unit. "It's very subliminal," said Draper. "We're all here pretending to be interested in the big.dk exhibit."


2014.08.08 17:20
Donald Draper at the Museum...
If I didn't have a shadow I'd be feeling very subliminal too.

2014.08.08 19:03
Donald Draper at the Museum...
And here I thought everyone came here just to look at the pictures. Go figure.


2014.08.08 19:25
Donald Draper at the Museum...
The new Museum will explore the human body from an artistic, scientific and societal approach through cultural activities, interactive exhibitions, performances and workshops.
The 7,800 m² (ca. 84,000 sqf) museum is conceived as a confluence of the park and
the city – nature and architecture – bookending the Charpak Park along with the Montpellier city hall.
The building’s program consists of eight major spaces on one level, organically shaped and lifted to form an underlying continuous space.
Multiple interfaces between all functions create views to the park, access to daylight, and optimizing internal connections.
The museum’s roof functions as an ergonomic garden – a dynamic landscape of vegetal and mineral surfaces that allow the park’s visitors to explore and express their bodies in various ways – from contemplation to the performance – from relaxing to exercising – from the soothing to the challenging.
The façades of the Museum of the Human Body are transparent, maximizing the visual and physical connection to the surroundings.
On the sinuous façade that oscillates between facing North and South, East and West, the optimum louver orientation varies constantly, protecting sunlight, while also resembling the patterns of a human fingerprint – both unique and universal in nature.
The jury, headed by the City’s Mayor Ms Hélène Mandroux, chose BIG over 5 other shortlisted international teams and praised BIG’s design for combining innovative, environmental and functional qualities.
The new Museum will contribute to Montpellier’s rich scientific and cultural heritage, attracting tourists, families, as well as school classes, academics and art lovers. Construction is scheduled to start in 2016, and the building will open its doors to the public in 2018.
BIG + A+Architecture + Egis + Base + L'Echo + Celsius Environnement + CCVH
Partners in Charge: Bjarke Ingels, Andreas Klok Pedersen
Project Leader: Gabrielle Nadeau
Project Manager:Jakob Sand
Team: Birk Daugaard, Chris Falla, Alexandra Lukianova, Oscar Abrahamsson, Katerina Joannides, Aleksander Wadas, Marie Lançon, Danae Charatsi, Alexander Ejsing.
Client: Ville de Montpellier
Draper's presence at the museum is obviously symbolic of big manly things.


2014.08.08 19:40
Donald Draper at the Museum...


"So what then is architecture? Is it a hard, 'simple', 'natural' protective shell that engenders the continuation of life? Or is it a soft formlessness forever (re-)designing an applied shell it doesn't naturally have?"

Remember 20 November 2013?
or
09050201.db



2014.08.08 20:07
Donald Draper at the Museum...
It turns out there is something fishy about all this. The same image from big.dk does not feature Donald Draper.

Yet the same image featured today at afasiaarq does feature Donald Draper.
The woman in the white dress in both images still appears to be Taylor Swift however.



From parks to museums and then cemeteries: our travels through the scriptures of myth--travels in mythic topography--now makes landfall on the obscure shores of memory and oblivion par excellence. In the "beginnings," architectural works arose to be the dwellings of the gods and the dead. Now, while we are on the threshold of the embalmment of our environment and the paradoxical project for its total conservation, it may be of use to study the relation between the architectural work and the space of death. This reflection of ours could be fittingly prefaced by a quotation from Ernst Jünger's Second Parisian Diary: "Our attachment to museums corresponds, on a lower level, to the Egyptian cult of the dead. What for them was the mummy of the human image is with us the mummification of culture; and what for them was metaphysical Angst is for us historical Angst: not to see our magical expression dissolving in our growing lucidity--this is our concern."
...the fragment used to suggest the loss of a whole. Isn't this the meaning of that macabre practice which led to the heart of Voltaire being kept in the Bibliotheque Nationale in Paris, and his brain being sold by auction in 1875? The "part standing for the whole"--pars pro toto--is one of the commonest tropes in poetic language. It is termed synecdoche.
Fragments of a funerary discourse, Architecture as a work of mourning (1983)


Imitating the city (1982)

The city-catalogue
De Chirico portrayed the world as an archaeological repertoire, reassembling the fragments of reality like pieces in a museum that could be catalogued.
The materials he uses evoke mute symbols, organize the topoi of the dead city, where the subject disappears. Transform the city into a museum: this is the programme simulated by painting. To carry out this transformation, a set of precepts has to be followed:
- the parody of myth and memory, to be celebrated in ageless monuments,
- the dissipation and cataloguing of form in fragments that express the solitude of the object confronted with the whole,
- the replacement of signs by the implementation of an architecture of ideas, acting by contrasts of categories, by condensation of meanings, by assemblage, its purpose being to recreate the world in a willed archaeology.
This means that one does not create the museum on the basis of the true and the real, as after Cezanne, but the city on the basis of the museum, as after De Chirico. The city-simulacrum thus becomes a parody of form, an archaeological park, a cemetery of meanings, a ruin ...
But if the city and the landscape become a catalogue of stratified objects, one must also avoid emptying it - by the artificiality of the techniques of visual communication--of its dimension of the non-visible, namely the dimension of anguish.


Light of my eyes
Leon Krier and Rem Koolhaas, the opposing poles of the contemporary debate, the visionary survivors in a panorama of "weak ontologies", moved briefly along the same path. But that was in the seventies, an encounter was made possible by a common passion for city architecture; when a taste for ironical portrayal--Surrealist in derivation--as well as the proximity of figures that had not yet moved into the distance (Stirling in one case and Ungers in the other) made it possible for them to act in a climate of tolerance. But this brief spell of "jeux serieux" came to an end, and the spread of a ludic attitude in contemporary architecture, taking the place of Surrealist irony, deprived architecture of its practical tasks and set it immediately in the dimension of an activity of signs.
Leon Krier thus moved on to a solitary reconstruction of the universe, resting the answer to the failure of modernist aspirations on a classicism idealized by archaelogy. So his city has become an idealized replica--rather like the restoration work of Viollet-le-Duc--of a theoretical Gothic-classical city.
Rem Koolhaas responded to the same problem with a hallucinated dilation of the premises of the avantgarde, transposing them onto an almost cosmological backdrop and taking as the model for his work the most radical Soviet and Dutch figures of the twenties--from Mart Starn to Ivan Leonidov.


A completely private world, New Canaan does not admit basic explanations apart from the autobiographical purpose which Johnson has poured so liberally into these buildings. What emerges is a remarkable museum of architecture. True, this is an architecture represented in keeping with the tastes of a single collector and conceived by a single designer - but in this "museum" the uncertainties, the rules violated, the baseless games, the extra-territorial nature of contemporary architectural languages, are ruthlessly listed, memorized and catalogued.
As a great admirer of Jünger, Hans Slemayer, states: "The world, for which the museum is becoming the most sacred theme, is already, by its essence, a world which sees everything in a historical perspective." Philip Johnson probably belongs to this world as well. For this reason he possesses a trait in common with Georg Fuchs. His collector's spirit reaches New Canaan, where it narrates synchronically the story of contemporary architectural uncertainties, arranging in the museum they give shape to, the traces of the interior of his own life as well.
The house of dreams and memories, Philip Johnson at New Canaan (1982)



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