1   b   c   d   e   f   g   h   i   j   k   l   m   n   o   p   q

0125     Hadrian's Villa   206k
0260     Minerva Medica   206i
0309     Circus of Maxentius, Tomb of Romulus   206e
0326     Basilica of Peter and Marcellinus Mausoleum of Helena   206j
0354     Basilica of St. Agnes, Mausoleum of Constantina   2072
1230     San Stefano
1762     Ichnographia Campus Martius   2110
1765     Osservazioni Sopra la Lettre de M. Mariette
1769     Diverse Maniere d'adornare i cammini
1814     Architecture Civile

Jean Jacques Lequeu   The rendezvous of Bellevue is on the tip of the rock   1777
But perhaps the most radical modification of the classical system of architectural figures is found in the work of the "visionary architects" of the French Revolution, Ledoux, Boullée, and Lequeu. These architects no longer believe that, as was the case in the Renaissance, the architectural figure corresponded to a hidden reality, revealed through Biblical or classical authority. Nonetheless they continued to use the Greco-Roman repertoire, whose meanings were seen to be established by social custom. But although they operated within a conceptual system inherited from the Renaissance according to which figures had metaphorical properties, they combined the traditional elements in a new way and were thus able to extend and modify classical meanings. The design of Lequeu called "Le Rendezvous de Bellevue" is an amalgam of quotations taken from different styles and organized according to 'pituresque' principles of composition. This building is a sort of bricolage made from figural fragments which are still recognizable whatever the degree of distortion. The case of Lequeu is perhaps different from that of Boullée or Ledoux because in his work classical composition seems often to be entirely abandoned. But even in an architecture based on picturesque principles, whose evident aim is to shock, the ability to provide this shock is dependent on the existence of traditional figures. One can , therefore, say of the work of all the visionary architects that it is not only an architecture parlante but lso an architecture qui parle de soi même. It consciously manipulates an existing code, even though in the case of Lequeu, it fragments this code. Emil Kaufmann and others have interpreted the work of Boullée, Ledoux, and Lequeu as being prophetic of the formal and abstrct tendencies in the new architecture of the 1920s and 1930s, and in particular the work of Le Corbusier. I prefer to see it as presenting a parallel to the present-day problem of the survival and reinterpretation of the figure of the rhetorical tradition.
Alan Colquhoun, "Form and Figure" in Oppositions 12 (1979), pp. 31-2.

1830     Altes Museum   2120
1884     National Bank of the Republic [Clearing House]
1885     House on Girard Avenue
1920     Robert W. Ryerss Mansion, Library and Museum
1937     Neue Reichskanzlei
1953     Governor's Palace   2177
1955     Adler House   217f
1955     De Vore House   217e
1967     Erdman Hall
1967     Fisher House   2187
1968     Dominican Motherhouse of the SSCdR   2206
1973     Allen Art Museum Addition
1975     Brant House, Tucker Town
1978     Brant House Addition   223b
1979     Wissenshaftzentrum
1979     Kasperson House
1980     Long Gallery House
1981     Institute of Contemporary Art   224a
1982     Cooper & Pratt House   2246
1982     Winton Guest House   2247
1982     Mayor's House   2269
1984     Casa Collage 001   225a
1984     Casa Collage 002   225b
1984     Casa Collage 003   225c
1984     Casa Collage 004   225d
1984     Casa Collage 005   225e
1984     Green Enfilade House   2252

1985.04.02     Copy Views  
1985.04.03     PRF Complete  
1985.04.05     Active Z Set To Display Depth  
1985.04.06     Fake It  
1985.04.06     Return to Prior Level  
1985.04.08     End of Plot  
1985.04.10     Locks=SN, UN, GR or Pakistan Postage  
1985.04.11     Title Lost  
1985.08.23     Update/Fit in Progress  
1990.08.17     Fragments, that's all  

1991   Philip Johnson   Law Center Addition
1991.12.31   Parthenon columns at Wall House 2

1992   Philip Johnson   Lewis Guest House Studies

1992.04.14     Exhibit One Apposing Schinkel  

1993     Parthenon columns at Villa Stein de Monzie
1993     Sober House 1   2286
1993     Analogous Building   2287

1993.10.12     Say Johns, Say Johns Again  

1993     The Architect's Wheel
1993     House/Studio and Grounds for a Berlin Painter
1993     Rooms of/for Justice
1993     Medical Museum Depicting...
1993     Nunnery
1994     Wacko House 002   2285
1995     Adjusting Foundations Untitled
1995     Architectures in Love

Capriccio: An Analogous Building   c0309

1997     Adadulsian Houses

1998.12.26/27 - 1999.07.13 - 1999.09.25
maison millenniums

1999     Ur-Ottopia House   2303
1999     Maison Millennium 001   2304
1999     Palace of Ottopia   2305
1999     Lauf Haus der Kunst   2306
1999     Schizophrenic Folds   2307
1999     Infringement Complex   2308

1999.05.27     Museumpeace  
1999.09.28     pieces/palimsest  
2000.01.05     Trophy Tattoo  

2001.05.22     Ten Zen Men  

2001.05.22     Room With a View  
2001.05.22     Hero Sandwich Diet  
2001.06.15     So Eighties  
2001.06.15     So Eighties Too  
2001.06.15     UT LE C  
2001.06.15     They Love That Dog  

2002.02.01 11:19
Re: (another) map
I am not opposed to your introduction here of the word/concept appose. Certain definitional phrases in Webster's Third International Dictionary (1969) for appose and apposition provide the solidity of your case:
apply (one thing) to another
deposition of successive layers upon those already present (as in cell walls)
When Nero reenacted the Triumphal Way, he did it with much apposition, probably even controversial apposition (but I doubt anyone opposed). He changed the traditional route, had elephants breaking down part of the city wall, you know, the basic kinds of stuff that Nero is (in)famous for.
The concept of appropriation is very much utilized by artists, and perhaps even more by art historians when they analyze a lot of contemporary art. I don't recall having previously read about the concept of apposition relative to art, and to the activity of artists, till your letters here. As far as I'm concerned, you may have introduced something original, or you may have introduced the concept by actually utilizing the concept itself via your introduction, meaning you may have apposed someone else's prior introduction of the concept of apposition relative to art. In either case, what you write has a refreshing truth to it.
appose 1 archaic : to place opposite or before : apply (one thing) to another     2 : to place in juxtaposition or proximity
apposition 2 a archaic : the application of one thing to another     b : the placing of things in juxtaposition or proximity; specif : deposition of successive layers upon those already present

appositional art
...much of my theory/methodology is best described as appositional. ...the art has been the manifestation of apposing forces...
Appositional architecture is not all that plentiful[?]...
Is something like “Piranesi in Color” an example of “appositions”?

2002.03.14     Palace of Knowledge

2002.03.15     In God We Trust  
2002.03.26     Trash Can [Do It] 2  

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

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

2002.04.03 11:15
Re: [art] being/appositional [to architecture]
In Webster's Third New International Dictionary (1969) you will find the following definitions:
apposition beach : one of a series of beaches successively formed on the seaward side of an older beach
apposition eye : a compound eye that is characteristic of diurnal insects and in which entering light reaches the retina of each ommatidium as a single spot and the image is a composite of all the spots

2002.04.03 11:31
Re: [art] being/appositional [to architecture]
Probably my favorite "Venturi appliqué" is the (now derelict) Best Showroom.

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

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

2002.04.11 17:27
Re: being/critical
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.

2002.04.15     Reenacting Shafrazi Apposing Guernica  




Quondam © 2018.02.03