atypical/content of a museum [of] otherness

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2003     Ascot Residence

Unthinking an Architecture
Volumes of UaA may include Remove, Lacunae, Nimiety, Sagacity, Chronosomatics, Atypical, Domestic, but not necessarily in that order. The order really doesn't matter. UaA as a kind of Cremaster Cycle, a multi-part vehicle for product generation and placement. There is also the notion of being purposefully obscurant, thus allowing all kinds of non sequiturs and an overall lack of necessary cohesion.
...(obscure) intellect to be the main, albeit, "not there" character. Have the audience say, "It's fascinating, but I really don't get it."
...not sure if Epicentral gets involved.

The introduction to The Museum as Muse is very good and I should write my own long essay as to how I too have been actively "artistic" with regard to museums... This essay is perfect for Unthinking an Architecture. The Hubert Damisch "A Very Special Museum" also needs to be addressed in terms of a/my museum of architecture.

2003.02.27 11:02
Re: WTC design study
Now I get it. The whole WTC design event so far is more than anything a museum of lobbies(?).
Museum Collecting Point One: Monument Hysterique.
Ms. Curious:
"So what do you do?"
Mr. Nimiety:
"I collect museums."

Museum Collecting Point One: Monument Hysterique
Begin Unthinking an Architecture with "Atypical" which features unique ichnographic capabilities; the opportunity for play and unbridled creativity; the venue for a new slapdash Ichnographia (Campus Martius). ...what other themes and texts?... ...maybe 'new dexterity' as in doing (new) things atypically.

2003.04.02 10:53
Re: changing stuff that really is life
Among the next projects to keep mostly incomplete:
chapters of Unthinking an Architecture
1.   Atypical
2a. Lacunae
2b. Remove
3.   Sagacity
4.   Nimiety
5.   Reenactionary Architecturism

2003.04.15 06:01
Unthinking an Architecture
1.   Atypical
2a. Lacunae
2b. Lapidary (was Remove, but Remove was removed to Lacunae)
3.   Sagacity
4.   Nimiety
5.   Reenactionary Architecturism

2003.04.16 11:18
Re: Do we live in some virtual Zoos ?
Museums have over time become my favorite type of building, specifically as architecture as delivery of content, even the 'secret' content.
It really is amazing that something that remains basically the same all the time (ie, the design/plan of the human body) nonetheless manifests so many, many differences. I sort of stopped looking at humanity as an animal, and (since 1981) starting looking at humanity (specifically the male/female human body) also as architecture as the delivery of content.

2003.06.26 00:27
so what then is architecture?
Architecture is product imagination, and I believe human imagination reenacts corporal physiology. This is not to say that architecture is synonymous with the body, nor that building be identical to bodies.
The notion that touch is the first sense to come about (and really what sense could have preceded it?) provides a firm place to start (thinking about beginnings).
The notion of female hardness and male softness suggests that the typical notion of male hardness and female softness is a superficial perception at best. I'm suggesting looking at the design of the human male and female body the way it really is, as opposed to the way centuries of cultural patrimony would rather it be percieved to be. It's an issue of seeing design for what it really is.
I know my thinking is provocative, but hardly rambling, and the most pseudo things in this thread are all the pseudo names.
I've learned to trust my perceptions regarding design. For example, all the architectural theorists that have ever said something about Piranesi's Campo Marzio (including the current dean of Princeton architecture) have never looked enough to find what I have found, which is that there are indeed two versions of the large plan, thus making me someone that discovered a heretofore unknown Piranesi--not exactly like discovering a lost/unknown Michelangelo, but not far away from it either.

2003.07.14 14:47
Re: houses saved by deconstruction or HABS
Cabinets and Museums--virtually the same exact thing. Think about it.

2003.09.04 19:10
Re: CFP: Museums and the Web 2004
... There's nothing fancy about the display, but I like the effect of "going through a museum" on a day by day, as opposed to room by room, basis.
[Thinking just now:] a calendrically mnemonic museum design.

030926   Nympheum Neronis   Philadelphia City Hall   3709m
030926   Porticus Neronianae   3709n

2003.10.05 14:47
Re: the McMansion Effect ((space))
..and then there's all the stuff that is now created and stored digitally, which sometimes gets put in digital museums.
Are the large homes and all their contents of today something like subliminal evocations of museums? "A man's home is his castle." And just look at how many actual castles and palaces are now actual museums.
"I want a McMuseum, hypersized."
Take a moment or two to count the 'collections' presently in your home.

2003.10.06 14:11
Re: CongressCATH 2004: Philosophy of Architecture/Architecture of Philosophy
from the call for papers:
"In particular the conference will examine contemporary architecture (so-called postmodern or deconstructive architecture), which as a practice seems to perform the insights of postmodern theory, and the architecture of the museum and the museum of architecture and the Architectural Archive. Here the conference would like to explore debates around the creation of museum spaces and the relationship between collections, interpretation, meaning and space."
from the back cover of Lotus International 35 (1982):
The museum of architecture
It's no longer possible for a contemporary architect to resolve the complex thematic of the museum in the typological conception of a building. Museum architecture, on deeper investigation, is transformed into a reflection on the museum-making of architecture itself.
We can find the prototypes of this phenomenon in the first collections, in the house-museum, in the first archaeological excavations, limited phenomenon which gradually spread until they became a program of exhibition organization throughout the world with the great exhibitions of the start of the century.
Today, in fact, they look to us as a colossal project of museum-making, even if with the aim of instructing. But the world which is given back to us like a still life in the museums, all of the works, the image, the production of varied ages and places is only a universe of melange, a metaphor of the living world the disorder of which is brought back to mind in the "magnificent chaos of the museum."
[The entire issue of Lotus International 35 is devoted to "the museum of architecture" theme.]

2003.11.15 13:50
Re: Is it the end of theory?
The 'theory' that I utilize most now-a-days in terms of guiding/informing my design actions centers on the notion that the virtual realm is an 'other' place to work within as an architect and/or artist. The virtual realm (whose infrastructure is now largely the Internet and the general wired-ness of our planet) is a place additional/optional to the real realm. Although many current theories (and realities) see the real and the virtual merging in our daily lives, I more enjoy investigating the virtual realm in its more extreme position (which exists regardless of whether or not there is concurrent merging of the real and virtual going on).

2003.12.30 16:08
Rem Koolhaas and OMA-AMO
At the In Your Face symposium at NYU 29 September 2001, featuring Robert Venturi, Denise Scott Brown, Rem Koolhaas and others, I questioned Venturi about his unsureness regarding 'content' when it came to building facades that were also screens that present electronic imagery--Venturi pioneered this idea back in the 1960s with an unexecuted design for the Football Hall of Fame. My point was that if architects design buildings where (some of) the facades are screens, that it might also be the 'job' of the architect to provide the content to be 'screened', or at least provide some sort of direction to how the screen facades might be fully utilized. After a full exchange with both Venturi and Scott Brown, the moderator of the symposium asked Koolhaas if he had any additional thoughts on this topic, to which Koolhaas replied, "I am not interested in discussing 'content'." Koolhaas has since then obviously changed his mind because the whole theme of the Koolhass/OMA/AMO exhibit presently at Berlin, and the title of Koolhaas' forthcoming book, is indeed Content.
It was soon after late September 2001 that Quondam, a virtual museum of architecture, began defining itself as "architecture as the delivery of content."



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