APPOSITIONS


appose 1 archaic : to place opposite or before : apply (one thing) to another     2 : to place in juxtaposition or proximity

apposition 2 a archaic : to application of one thing to another     b : the placing of things in juxtaposition or proximity; specif : deposition of successive layers upon those already present


Louis I. Kahn, Erdman Hall (Bryn Mawr, PA: 1960-65), plan.



Louis I. Kahn, Fisher House (Hatboro, PA: 1960-67), plan.



Louis I. Kahn, Dominican Motherhouse of the Sisters of St. Catherine de Ricci (Media, PA: 1965-68), plan.



Venturi and Rauch, Brant House (Tucker Town, Bermuda: 1975-77), plan.



Venturi & Rauch, Mr. & Mrs. Peter Brant House Addition (Greenwich, CT: unexecuted, 1978-79), model.

This project was commissioned because the family had grown in size with the arrivalof triplets. The parents had diverted their collecting to American antique furniture and American primitive painting. They had intensified their interest in horses to include breeding, polo, and racing, and now had large new stables under construction. They had also changed in more subtle ways, toward a lifestyle of greater formality.

Specigic requirements for the expaned houses were extra bedrooms for family and guests, more service space, a proper dining room, a formal entrance hall with reception room, and a garage remote from the house. A big library was to be added for an extensive collection of books on horse breeding and equestrian sports, and for informal entertaining.

We saw this addition as a challenging opportunity to create a building complex in the easy way the English modified and added to their country houses, over generations, in different architectural styles, and particularly like those houses with Georgian fronts and Elizabethian behinds. Because the original house was frontal in layout, it was easy to place a red brick Georgian facade behind it. From the original front you would then see a Mannerist juxtaposition of a green brick form against a plane of even, red brick bays. This permitted an interior of some formality, but it created as well a degree of idiosyncrasy in plan which was in the vein of another English great-house tradition.

We located the new entrance in the addition so the new wing would dominate as you entered. To promote architectural formality, we created an exterior forecourt at the entrance and on the central axis of the old house. A cross-axis penetrating the entrance hall formed a long gallery connecting the reception room at on end with the library at the other. The living-room in the existing house became the new dining room, at a slightly lower level, on axis with the new front door. Kitchen and service in the existing house remained where they were. New bedrooms were on the first floor. New bedrooms were on the second and partial third floors of the new wing.

The new wing of red brick was rather literally in the style of a late 18th-century manor, its chaste but grand form contrasting with that of the existing house. As a long and narrow elements blocking the old house from the entrance court, the new wing was mainly one facade, a two-dimensional sign--in the end, an expansive gesture.
Architectural Monographs No. 21, Venturi, Scott Brown & Associates on Houses and Housing (1992), p. 49.



James Stirling and Michael Wilford, Wissenschaftszentrum (Berlin: 1979-87), model.



Stephen Lauf, Cooper & Pratt House (1982).



Stephen Lauf, Mayor's House (1984).



Quondam, Ur-Ottopia House (1999).



Quondam, Infringement Complex (1999).


appositional art
2002.02.03

...it would be great to begin a journal publication w.q.c/appositions which would be in direct apposition to Oppositions, but what exactly would the journal (or single publication) actually be about? Since I can't even think of an example of my own architecture that is appositional, then I'm not going to pursue the notion of appositional architecture any further.



[art] being/appositional [to architecture]
2002.04.03 09:37

Is it correct to think of art as being largely appositional to architecture?

I'm not only thinking of how painting and/or sculpture and/or electronic display screens, etc. are added layers to architecture, which in turn manifest a 'new' entity, but I'm also thinking/wondering about the 'art of architecture' also being appositional to architecture itself.

This leads to now wonder if electricity (and other utilities) might also be (rightly) considered as appositional to architecture.

Conversely, is it (ever) possibly for architecture to be appositional to art? Or is it (ever) possible for architecture to be appositional to electricity?



Re: [art] being/appositional [to architecture]
2002.04.03 11:01

My line questioning was not directed so much to the usage of the common word, rather to the notion of successive layers relative to the makeup of art vis-a-vis architecture, a reality that exists no matter what word is used to descibe it. [And if anyone can offer a better word that applies to this reality, then please do.]



Brant House


Re: [art] being/appositional [architecture]
2002.04.04 10:49

Beyond that, the questions I raised here yesterday involve the notion that architecture (over the ages) has largely been apposed with other art forms or with other engineering forms. I thought it would be interesting to openly discuss what those 'other' yet directly near applications are or are not, and how the appositions change or don't change the 'original' layer. For that matter, identifying what the original layer is may also evoke interesting positives and negatives.



Re: [art] being/appositional [architecture]
2002.04.04 16:48

Do you think there might also be such things (in design) as "difficult appositions"?

If so, any "good" examples? And/or is coming to grips with "difficult appositions" something designers should be aware of or be willing and/or able to deal with?



Re: being/critical
2002.04.11 17:27

Palimpsest is not exactly apposition because an erasure occurs before something new is applied.

Apposition occurs within palimpsest when traces of the erasure begin to be seen again.



Stephen Lauf, Ten Zen Men (2001.05.22).


OMA, NATO Headquarters (Brussels: 2002).


hotrod architecture
2005.05.17 18:51

I never thought of appositional architecture as a reenactment of 'hotrodding' before...





Quondam, Stoner Food Restaurant (2006.06.09).




Herzog and de Meuron, Parrish Art Museum (Southampton, NY: initial scheme, 2006.07.21).



Quondam, Hurva Domitories (2007).





Quondam, Gooding Trice House (2007).


8 July
2007.07.08 12:52

Maybe the twin couples are going to publish a new journal on architecture entitled Appositions.





next cad work at Quondam
2007.07.13

With regard to Appositions magazine, I should start creating a whole bunch of plan appositions, really just do them, and then just display them at Quondam. Since none of this work actually means anything, I could also be as experimental, playful and even sarcastic as possible...



Quondam, Headquarters of D.A.T.A. (2008.05.02).



Quondam, Villa Plus Ultra (2008.09.24).



Quondam, Courthouse Plus Ultra (2008.09.25).



BIG, Hospice Søndergård (Måløv, Denmark: 2008).



BIG, Art Souq (Abu Dhabi: 2008).


appositional architecture
2008.11.13

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.



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