what if they find it's totally random and completely tangential

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2006.06.25 14:47
Total Stoner Food
I just finished designing a total stoner food 24/7 take-out restaurant.
I think they're gonna call it Say Government Cheese.

2006.06.25 14:13
Is Archinect a Place?

"Please stop blurring the real and virtual. I can't take it anymore."
I think that's Rita Novel in the background!

2006.06.25 14:04
what value does art have in the world?
Sure art has the power to change people. For example, I've executed several artworks that have changed people from liking to disliking me.

2006.06.25 12:50
OMA is hiring
Dick Hertz has left the building.

2006.06.25 12:37
Adam Sandler as an Architect: New Movie - Click
What is this?!? Back to the future or something?
So, Ned and Eva got married 18 January 1912 and quondam was the word of the day 18 January 2006. And then Eva presents a trophy 23 June 1916 and Click opens in theaters 23 June 2006.
I was gonna insert some links, but this forum already has enough "clicks".
And what's harold and doctors and lawyers again?

2006.06.25 12:14
OMA is hiring
I'm making tuna salad for lunch!

2006.06.25 10:41
Thread Central

real or no real?
deal or no deal?

2006.06.25 08:54
what value does art have in the world?
In the panic after Pearl Harbor, German planes were reported nearing the coast; the Boston Museum rushed its treasures out of sight. The National Gallery in Washington very intelligently secured the vast empty Vanderbilt chateau of Biltmore in the North Carolina mountains, to shelter the chief masterpieces of the Mellon Collection. The Metropolitan first thought, on the example of the National Gallery in London, of an abandoned mine or quarry, and was on the point of taking one up the Hudson. Fortunately, the prolonged drought during which they inspected it came to an end, and water began to seep in just before they were to occupy it. Various empty country houses were offered them. Soon they announced they had taken a country place, "a hundred miles inland." It was Whitemarsh Hall. Priorities on materials were somehow secured; steel racks for paintings were put up in the salon, steel shutters at the windows. Packing cases were piled in the billiard and other rooms.
Other institutions sent their treasures there also, so that if a single bomb had landed it would have destroyed them all. The hysterical rush to put things in Whitemarsh Hall inspired Hardinge Scholle of the Museum of the City of New York, who had at first participated in the movement, to call the house a "monument hystérique."
Fiske Kimball, "Grandeur and Miseries of Whitemarsh Hall" in George and Mary Roberts, Triumph on Fairmount: Fiske Kimball and the Philadelphia Museum of Art (Philadelphia: J.B. Lippincott Company, 1959).

2006.06.25 07:29
Is Archinect a Place?
This is virtual place. It doesn't replace or emulate real place, it offers something other than real place.
Personally, I like that there are now two kinds of places, real and virtual, that I can and do interact in seperately.
What is still not generally acknowledged (although it is undeniably self evident) is that involvement in virtual places like archinect and myspace basically manifests itself via self-publishing, thanks largely to hypertext markup language.
There are other virtual places too, of course. What the limits of virtual place are is an unknown.

2006.06.24 13:47
what value does art have in the world?
Serra on Charlie Rose, plus one of my better Conceptual (virtual performance) artworks:
2002.08.31 11:52
Re: piano, koolhaas, serra
It's worth noting that everything Serra said (for at least five minutes) about play(ing and the creation of art) is likewise to be found in Johan Huizinga's Homo Ludens: a study of the play element in culture, especially chapter one.
The only time I every 'interacted' with a large Serra work was in 1992 at Gagosian Gallery in Soho. Experiencing the piece(s) inside is indeed worth it--one more acutely realizes the scale of the works via contrast of the piece and its container. [So a lot of Serra's sculpture is off the pedestal but now more (just) in a container?] I chatted with Peter Reed (an architecture and design curator at MoMA) at a birthday party at RE's Philadelphia place a few months afterwards. He told me MoMA had purchased the work. I quickly asked Peter if he knew what MoMA had paid for the work--I always ask for the price-list when I'm in a NY art gallery. Peter answered no. I told him it was listed for $1.2 million.
[In a little game I sometimes played, after looking over any given exhibit price-list, I'd ask the gallery rep if they had a favorite piece. Invariably, they would point to the most expensive 'item'.]
The next time I encounter a Serra work I hope it's in a museum or a gallery, and I hope it's one of the spirals with an inner open space. Once I'm in the inner space and see that no one else is in the space, nor that anyone else is then also interacting with the work, I'm going to feign a panic attack. I'm going to start screaming as loud as I can that I am feeling fatally disoriented and that I have to close my eyes and lie on the floor, and that someone should come get me, but please approach me slowly, and lead me out of the sculpture because I have keep my eyes closed so not to throw up. Plus I really, really have to suddenly urinate! "So please hurry, but don't rush and startle me." Then I'll start counting out loud in German or something. [Being very close to a schizophrenic brother does have some benefits.]
Two nights after seeing Koolhaas on Rose, I read an interview of Elias Zenghelis and Eleni Gigantes in Customize: Review of Peripheral Architecture. [Zenghelis co-founded OMA with Koolhaas, and Gigantes presented a paper after I did at Inside Density in 1999 (and I had Thanksgiving dinner with them at their Brussels apartment two night afterwards).] In the interview (conducted 21 May 2001) they candidly, and even with some embarrassment, admit to having no work. They also candidly speak of Koolhaas. And they really don't like all the architecture and theory the young architects of Europe are now practicing. I was reminded of the relationship between Kahn's Yale Art Gallery and Kahn's Radbill and Pincus buildings--completely co-temporal events yet within completely different (light) wave lengths.
I'm glad I taped (recorded) the combined architect interviews on Charlie Rose. It was worth it just to henceforth occasionally see how Koolhaas' face noticeably lights up and actually begins to smile as soon as Rose brings up the subject of Prada. Even after utilizing a magnifying glass it is still inconclusive, but I'd swear that dollar signs actually flashed in Koolhaas' eyes at the very same time.
Neither Piano, Koolhaas nor Serra are on the short list for Ezeri Mester 2002. I did not anticipate having to make such a difficult decision, because I did not anticipate having a half dozen real and/or potential 'millennial masters' to choose from. I can make only one choice however.

2006.06.24 13:36
what value does art have in the world?
Teeny doesn't necessarily have to influence me (affect), but it definitely brought about a change (effect).
Teeny itself is not the art here. The discovery, naming and publishing of Teeny is the art here.




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