working title museum

welcome to the hotel anecdotal

  0   b   c   d   e   f   g   h   i   j   k   l   m   n   o   p   q   r   s   t   u   v   w   x   y   z



The very extensive and complicated series of works here presented occur at the junction of the South and Raccoon forks of Licking river, one mile west of the town of Newark, Licking county, Ohio. Like those at Marietta, the works in question occupy a high fertile plain. This plain is here of great extent, and elevated from thirty to fifty feet above the alluvions bordering the streams: it is for the most part level, but in places broken and undulating.

These works are so complicated, that it is impossible to give anything like a comprehensible description of them. The plan, with the illustrative supplementary plans and sections, will furnish a better conception, as a whole and in detail, than, could be afforded in any other way. It will be the object of the text to supply such information as cannot be obtained from the plan.

The group covers an extent of about two miles square, and consists, as will be observed, of three grand divisions, connected by parallels and works of a minor character. The walls of the parallels, and of the irregular portions of the works generally, as well as of the small circles, (of which there are a considerable number,) are very slight; for the most part not exceeding four feet in height. The embankments of (lie principal, or regular portions of the works, are much heavier. Those of the larger circular work, E, are about twelve feet in perpendicular height by fifty feet base, and have an interior ditch seven feet deep by thirty-five wide. At the gateway or entrance, the walls are much higher than at any other point, being not less than sixteen feet in altitude, with a ditch thirteen feet deep, giving an absolute height of about thirty feet from the bottom of the ditch to the top of the embankment. The wall of the lesser circle, F, is six feet in height, and is unaccompanied by a ditch. The walls of the octagonal, as well as of the square work, are but five and a half feet high, and are also destitute of ditches, either exterior or interior.

The circular structure E is undoubtedly one of the best preserved and most imposing in the State. There are many enclosing larger areas, but none more clearly defined. At the entrance, which is towards the east, the ends of the walls curve outwards, for the distance of a hundred feet, leaving a passageway eighty feet wide, between the deep ditches on either hand. Here, covered with the gigantic trees of a primitive forest, the work presents a truly grand and impressive appearance; and, in entering the ancient avenue for the first time, the visitor does not fail to experience a sensation of awe, such as he might feel in passing the portals of an Egyptian temple, or in gazing upon the silent ruins of Petra of the desert. This work is not, as has been generally represented, a true circle; its form is that of an ellipse, its diameters being twelve hundred and fifty feet, and eleven hundred and fifty feet respectively. There are two or three slight irregularities in the outline, too trifling however to be indicated in the plan. The area of the enclosure is something over thirty acres. It is an almost perfect level, and is still covered with the original forest.

Ephraim George Squier and Edwin Hamilton Davis, Ancient Monuments of the Mississippi Valley: Comprising the Results of Extensive Original Surveys and Explorations (1848).

2011.10.07 20:13
Did deconstruction turn into blobitecture some time in the 90's?
Wikipedia actually provides decent entries for both Constructivism and Deconstructivism and even Blobitecture. Otherwise, welcome to the Hotel Anecdotal.

2011.11.19 13:25
Quondam's Fifteenth Anniversary
"And we become these human jukeboxes spilling out these anecdotes." --Six Degrees of Separation

As memory serves, I've only met her twice. Once at a bon voyage party and once at a small dinner. Both in late summer 1993 and both at the same house in Manayunk, Philadelphia. I was still standing in front of this large painting after Robert Venturi asked "Is this by someone?" "Yeah, me." She came up to me afterwards and said, "So you're the artist." Apparently she loved the painting.

She went on about it's sexuality and ambiguity, androgyny and juxtapositions, and I don't remember what else. Later, in the kitchen, I heard her pronouncing "Benjamin" in German and pronouncing "Barthes" like she just bit her tongue. I interjected, "You know Barthes said "laughter is a substitute for castration." She burst out laughing, and yelled over to her husband, "Barthes said laughter is a substitute for castration!" He did not laugh, and I think I know why.

Maybe like a month later, she dominated the conversation at the small dinner. There was lots of architecture talk. She or someone she knew was collecting all the latest in architectural jargon. "So what are some of the words?" She wouldn't (or couldn't) say. And then there was talk of the Italian Rationalists. "Don't forget Sartoris." "Oh! Sartoris! You know he's still alive!" Towards the end, her husband said he'd like to do an in-depth study of VSBA's domestic architecture. "How about the Brant House Addition?" "Wow, now there's an obscure project."

Lavin now calls it Kissing Architecture; Quondam has been calling it Appositions.

Anthony Vidler was moving to LA, and the host of the party and dinner was moving to NYC. She got the host to sublet Vidler's NYC apartment.

2012.11.22 13:00
22 November
Thanksgiving Day 1999
In the midst of all this, we found ourselves talking about Thanksgiving Day in the USA (actually it was Thanksgiving Day, but we were in Brussels), and it quickly dawned on Eleni Gigantes that Thanksgiving Day is a huge reenactment (if not the biggest reenactment within the United States).

One of the last events of my trip to Brussels, Belgium was a Thanksgiving dinner on Saturday night, 27 November, hosted by Elia Zenghelis and Eleni Gigantes. About half of the guests were some of the participants of Inside Density. During dinner I sat next to Mark Wigley, and across from Mark sat Hilde Heynen, and across from me sat Eleni Kostika, and next to Eleni Kostika sat Tom Avermaete. Most recently, Tom Avermaete moderated the "Elements of Architecture" event last friday in Rotterdam.

"And we become these human jukeboxes spilling out these anecdotes." --Six Degrees of Separation

Memory is the primogenitor of reenactment. Is reenactment the primogenitor of traditions?



Quondam © 2019.07.09