1 February

1798 sale of the château of Anet for 3,200,000 francs

1813 birth of Eduard Riedel

The Mirror and the Lamp
1996.02.01     3784b

European Parliament
1999.02.01 12:52     2198

Blurred Zones
1999.02.01     1999

coming apart at the seamless

Re: (another) map
2002.02.01 11:19     5014 3703 7702

Learning from Girard Avenue
2002.02.01     4015n 4018f 5117

Epic 2014/Googlezon
2005.02.01 11:12     3773f 4605

who wants to poche?
2008.02.01 11:51     3333y
2008.02.01 12:25     2226 2278 3333y
2008.02.01 20:48     2306 3333y

Venturi's Lieb (No. 9) House to be moved (or demolished)
2009.02.01 07:54     3332t 3700d 4014t
2009.02.01 10:37     3120q 3332t 3700d 3702e 3715b 4014u 5731d

Scale comparisons

2011.02.01 11:38     3331t 3741c 3768d 3771d

MVRDV   The Milestone

1999.02.01 12:52
european parliament
In light of the new European Parliament building (as featured in ARCHIS January 1999), it would be interesting to re-examine the first design for a European Parliament, also in Strasbourg, as proposed by Le Corbusier, 1964.
Le Corbusier's design is hailed in gallery 1999 as the "most modern building of the 20th century" percisely because this (virtual) building symbolizes a discernable pinnacle of modernism in architecture, which in turn symbolizes a pinnacle of Western 20th century culture/politics as well.

Coming Apart at the Seamless
This first hybrid [architectures] conference of the 21st century took place within two cyberspace venues, the UK based architecthetics discussion list (whose name itself is a hybrid) and the US based design-l discussion list, beginning 30 December 1999 and ending, for reasons of practical closure only, 31 January 2000.
The discussion activity at both lists throughout the month of January 2000 was well above average, yet only a few individuals, being members of both lists, are aware of the concurrent discussions. It is thus for the purpose of broader awareness throughout the global architectural community that Quondam hosts coming apart at the seamless, thereby presenting the combined daily posts of both lists. In paradoxically "pure" hybrid fashion, moreover, the active members of architecthetics and design-l had no idea that their "literal" participation would ultimately manifest the first hybrid [architectures] conference of the 21st century.
coming apart at the seamless starts with Marcus Ormerod (UK) asking, "Should this be called a sculpture? If so, what criteria are we using? If all the terminology being applied to it is architectural, such as walls, doors, roof, etc. does this push it into architecture? Should we be redefining all those buildings which we can no longer access as sculpture?" and ends with Mary Alice Miller (Brazil) stating, "Interesting what you've said about requiring "everyone in South Florida speak English only," but "not going to promise them access to the reference tools that describe the delimits of that requirement", Nicholas. But I want just to remember that, nowadays, every single person who wants to get in touch with the world, NEEDS to know English. Here we have a single example: I've studied English for some years and now I can access Design-L list; It's different from at about 135 million people, just in Brazil, that cannot do this. Imagine in world... So, the language IS, in fact "a tool of repression", of power, of capability. And in our days - not only in Roman times! - English is this language."
Now, coming apart at the seamless poses the question: Are the above citations then the two extremes? or, through hybridization, do they come to mean the same thing?

Learning from Girard Avenue
... a reenactment of Learning from Las Vegas:
1. Philadelphia daze--Venturi and Scott Brown leading the way; the facade visit; the prison and Bastile Day reenactment; Calcutta House; Peirce College door; the book signing; first and last time with Steve Izenour; Stenton and St. Helena; Princeton Memorial Park.
2. Girard College--the museum there; organ recital for one; $$$; tomb; Walter/US Capitol; stone temple.
3. Stephen Girard.
4. Gesu, St. Joseph, St. Peter, St. John Neumann.
6. Broad Street Comes Alive.
7. Health Center 6; Francisville and the Poplar neighborhood housing.
8. William Penn High School; Furness bank.
10. the Zoo; Fairmount Park; Lititia Street House.
11. Penn Treaty Park.
12. 88 Houses of Ill-Repute.
13. the general guidelines for reenactment.
14. 25 February--breaking of the silence.

2005.02.01 11:12
Epic 2014/Googlezon
"In the future, everything will be an advertisement."

2005.02.01 11:49
Epic 2014/Googlezon
Product placement is a very interesting phenomenon. I especially like it when most people don't even recognize it, like how "the news" is more and more just product placement. Oprah's completely product placement. And don't even get me started about Disney!
Funny, when an individual 'places' their own work for others to 'consume', that's looked at with distaste. Is it that deep down most people really want giant corporations to control it all?

050201b Sepulcher Augustus axonometric   2350i10
050201c Ichnographia Romaphilia perspective   2348i15

2008.02.01 20:48
who wants to poche?
Perhaps you're drawn towards [the design] because it's composed of a 20th century museum design and the 19th century museum it reenacts.
...the program: a house of art for a schizophrenic.

09020101 Palace of Versailles plan   2092i01
09020102 Palace of Versailles Horti Lucilliani Medica Minerva St. Agnes Basilica Santa Costanza Pantheon Courthouse Plus Ultra Whitemarsh Hall Mikveh PMP St. Pierre Altes Museum Basilica Sessoriana plans   206ii03

2011.02.01 11:38
Umberto Eco's The Limits of Interpretation is almost completely available online. I've read half of it over the beginning of winter holidays, and plan to read the rest soon. As mentioned above, I see the texts of pages 54-62 germane to a critique of Aureli's "Instauratio Urbis: Piranesi's Campo Marzio versus Nolli's Pianta di Roma":
"...a convenient opposition between interpreting (critically) and merely using a text. To critically interpret a text means to read it in order to discover, along with our reaction to it, something about its nature. To use a text means to start from it in order to get something else, even accepting the risk of misinterpreting it from the semantic point of view."
Eco, p. 57.
Aureli and Eisenman use Piranesi's Ichnographia Campus Martius as a defense of their own beliefs of autonomous and/or absolute architecture, and indeed manifest misinterpretations (e.g. "Piranesi reinvented Rome as a city without streets.", Aureli, p. 137.) because they continue to ignore critical interpretations that have manifest many discoveries as to the actual nature of Piranesi's Ichnographia Campus Martius.

14020101 PSAoCRI composite plans   206bi11

15020101 Garden of Satire in Campo Rovine (full extent) NNTC   243ci01

17020201 IQ47 Museum for Nordrhein Westfalen Wallraff-Richartz Museum Atheneum Neue Stattsgalerie plans   2226i30

18020101   MVRDV   The Milestone

19020101   appositional architecture Dominican Motherhouse Ur-Ottopia House Maison Millennium 001 House of Shadows Bye Gooding Trice House Villa Appositional plans elevations   2206i34
19020102   Villa Appositional model opaque off elevation work   2425i09
19020103   Villa Appositional elevation elevation work   2425i10

09020102   Palace of Versailles, Horti Lucilliani, Medica Minerva, St. Agnes Basilica, Santa Costanza, Pantheon, Courthouse Plus Ultra, Whitemarsh Hall, Mikveh PMP, St. Pierre, Altes Museum, Basilica Sessoriana, plans

20020101   Dürer House plan elevation section   207ji01
20020102   Hardwick Hall plan elevation   2084i01
20020103   Château de Maisons plan elevation section   2085i01



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