4 February

1498 death of Antonio di Jacopo Benci

1766 birth of Johann Heinrich Gentz

1839 death of Rudolph Cabanel

new feast of St. Catherine de Ricci

Architectural Promenade
1997.02.04     2150 2156 2198 3122z 3788

first exhibit

Re: [looking glass] the old masters
2000.02.04 14:11     3775c
2000.02.04 17:23     3773c 3775c

diversity and entropy
2001.02.04 11:56     3775d 5051

Re: Robert Venturi
2003.02.04 11:50     2207 2236 3775g 3783f 3787c 4014c 4016o

Unthinking an Architecture
2003.02.04     3704b 3705i 3773d 3899j

The Matter of Architecture
2004.02.04     3768

September 3, 1967 = January 30, 2005
2005.02.04 11:46     3773f 3783g

A Miers Fisher Banquet of Lawyers
2007.20.04     u6376

political architects
2007.02.04 18:27     3775l 8210s

4 February
2014.02.04 13:48     3307u 3703l 3732d 3775u 3785h 3899t

the beginning of Unthinking an Architecture
2014.02.04     3713j 3715c 3741d 3781j 3899u

Session 14: His bjark is BIGger than his bjite – A chat with Bjarke Ingels at the opening of BIG's "Hot to Cold" exhibition
2015.02.04 12:15     3310c

Herzog & de Meuron   Elbphilharmonie

first exhibit
...the first exhibit is far more meaningful than originally thought. The issues of Parkway Interpolation and the virtual building of Quondam within the museum annex design, all reinforce over half the issues covered in the exhibit. ...at Quondam... ...a continual manifestation of the virtual museum ideas, ...the continuation of the Parkway as virtual place.

2000.02.04 14:11
Re: [looking glass] the old masters
Randolph states:
I think he's at least partly right; I've been talking about the camera lucida for years--ever since I saw an exhibit of the astronomer Wm. Herschel's camera lucida drawings at the Ansel Adams. The Old Masters used technical aids when they could; the NYer article reprints that picture of Dürer carefully measuring. I've little doubt that if they had the camera lucida available at least some of them would have used it. And of course the example painting reprinted in the NYer(it's upstairs, I don't want to get it to cite it) does indeed look photographic.
Steve asks:
So what part of Hockney's theory do you think is right is right, and what part do you think is not right?
What I like about the article is the strong implication that the manual dexterity of the 'old masters' is not exactly what art history tells us it is. In the case of Hockney's theory, we have CLAD and COAD--Camera Lucida Aided Drafting and Camera Obscura Aided Drafting respectively--which I see very much akin to CADD -- Computer Aided Drafting and Design. In either case, manual dexterity is aided by 'technology'.
Having started using CAD well before most other architects (in 1983), the initial reaction of most of my colleagues was that I had now somehow abandoned architecture because I was now letting a computer do the drawing(and designing they assumed) for me. To me there was no doubt that my critical peerage was being purely prejudicial and biased because I knew that they knew nothing about what CAD was really about. What bothered me most, however, was that practically none of my colleagues wanted to learn more about CAD. I had to conclude that they were most afraid of facing their own ignorance, yet I also had to concede that I was perhaps the only one to see the hypocrisy that was going on. For myself, learning CAD in 1983 almost immediately made me a more creative person then I ever would have been without it.
The other thing I like about Hockney's theory and his presentation of it is that he bases his theory not just on testing the theory by using the camera lucida himself, but also on his own experience as a consummate artist. Where the camera lucida tests offer 'physical' evidence for his theory, I, like Hockney, actually feel that having the working knowledge of being an artist when theorizing how artists work provides the more sure evidence, even though it is not physical evidence.
Perhaps the real trick of the camera obscura is that it has managed to keep a lot of Western culture in the dark about how art really gets done.

2000.02.04 17:23
Re: [looking glass] the old masters
I very much question the widespread opinion that being able to design well is dependent upon being able to hand-draw well. Such thinking basically means that someone without the use of one or both hands could never be a good designer. Let's hear it for all the **digitally** impaired designers out there that can now fulfill their design dreams because of CAD.
Anyone hear any more about the new voice activated drawing software that speaknoevil.com is working on? last I heard they just about finished their deconstruction language version, and next plan to develop several dead language versions.
ciao 4 now OR volare sursum deorsum pedes!

2001.02.04 11:56
diversity and entropy
This leads me to then ask, what exactly was the 'dominant' feature of Modernism (in architecture) when it was not a diversity of behavior, or, to but it in your terms, when Modernism was 'classical'? Essentially, I want to know if you can aptly describe when and how exactly architecture was at its most modern, that is devoid of any diversity.
I agree with you that Baroque architecture is not a product of 17th century politics, because Baroque architecture is more the product of 16th century politics (especially politics outside Italy that destabilized Italy). The Baroque of the 17th century is really just a reenactment of its illusory 16th century self, meaning the 17th century Baroque mirrors the 16th century Baroque. To understand the Baroque fully, you must learn to recognize both the illusory self of the Baroque and the Baroque's mirrored reenactment of its illusory self. For reflection of the Baroque to be true requires the Baroque's reflection to be Baroque as well.

02020401 Tower for Princeton Memorial Park elevations   2207i04

2003.02.04 11:50
Re: Robert Venturi
I'm beginning to see a lot of Venturi et al architecture and design as 'mod'. Not Modern, not Post-Modern, not (just) Pop--specifically mod.
The Princeton Memorial Park tower is very mod, as is the Mr. and Mrs. Gooding house of a decade later.
Venturi, like Stirling, is a mod colorist (for sure), a distinct rarity within 20th century architectural history.

Unthinking an Architecture
Volumes of Unthinking an Architecture may include Remove, Lacunae, Nimiety, Sagacity, Chronosomatics, Atypical, Domestic, but not necessarily in that order. The order really doesn't matter. I'm thinking of UAA as a multi-part vehicle for product generation and placement. There is also the notion of being purposefully obsurant [toward absurd], thus allowing all kinds of non sequitors and an overall lack of presupposed cohesion.

2005.02.04 11:46
September 3, 1967 = January 30, 2005
And now I wonder what the Iraqi War Memorial in Washington DC is going to look like. Maybe an exact mirror of the Vietnam War Memorial on the other side of the Mall?
Has anyone ever said "One good reenactment deserves another" before now?

2007.02.04 18:27
political architects
Eutropia, Helena, and Constantine
They did a lot more than dabble; their architecture and urbanism shifted the whole paradigm of the Roman Empire.

14020401 Danteum Plus Ultra plan modern/ancient context IQ11   206bi14
14020402 Danteum Plus Ultra plans model modern/ancient context IQ11   2433i02
14020403 [Danteum] Plus Ultra extrusion model   2433i03

15020401 Farnsworth House @ Pennypack 1100x550   2174

16020401   Herzog & de Meuron   Elbphilharmonie

17020401 Museum of Knowledge model work   2185i22

While Venturi and Scott Brown were still signing books after the VSBA symposium at the Philadelphia Museum of Art, I met Steven Izenour for the first and last time. Probably not too many others present, including myself, knew that Izenour was going to celebrate his sixty-first birthday just two days hence. And certainly no one there knew that Izenour would die of a heart attack a month and a week later.

Venturi and Rauch, Princeton Memorial Park Tower (Hightstown, New Jersey, 1966, project)

The tower is a sign to be seen from the expressway yet to be interesting from close up. Its precedents are the campanile and the commercial sign by the highway. From the highway you see the bold silhouette of the concrete cylinder, and through the openings in the cylinder you see a structural diagonal diaphragm with an appliqué of black and white marble whose op-scaled stripes are like those of the tower at Siena. Inscribed in concrete on the back of the diaphragm sloping toward the viewer is the Twenty-third Psalm, which is seen through a sheet of water. At night the tower is lighted internally to be read from a distance and it becomes a base for a tall beacon of light.
Venturi, Scott Brown, Izenour, Learning From Las Vegas (Cambridge, MA: The MIT Press, 1972), p. 114.

And finally Steven Izenour, who is our co-worker, co-author, and sine qua non.
Scott Brown and Venturi, Preface to Learning from Las Vegas (Cambridge, MA: The MIT Press, 1972), p. xi.




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