24 February

1389 Jacques de Beaujeu contracted to build the great rose window of the façade of the cathedral of Lyon

1578 Jehan Durantel was called in consultation concerning the construction of the Pont Neuf in Paris

1619 birth of Charles Lebrun

1755 Robert Adam arrives at Rome
1761 James Adam arrives at Rome

1800 birth of Charles Edward Isabelle
1852 death of John Frazee
1879 death of Eugene Louis Millet

1995.02.24     3784

1996 death of Esther Isreali Kahn

Re: in the mail, etc.
1998.02.24     e2655 5398c

interesting interesting
1998.02.24     e2655 5398d

Re: irrational architecture
1999.02.24 13:02     e3102 3716b 3784d 5399

Re: Monument to King Victor Emmanuel II
2002.02.24 14:53     3767b

pragmatists turning political?
2009.02.24 11:49     3332r 3785d 4704
2009.02.24 11:55     3332r
2009.02.24 18:49     3332q
2009.02.24 20:38     3332q 3785d 4704
2009.02.24 23:49     3332q
2009.02.24 23:56     3332q

Bilocation Syndrome
2009.02.24 15:39     3332r

The display and organisation of books on a shelf
2011.02.24 07:20     3331s
2011.02.24 10:00     3331s
2011.02.24 12:07     3331s

Firecracker Kids
2017.02.24 10:42     3315e

OMA   College Sciences Building

1999.02.24 13:02
Re: irrational architecture
Overriding balance and equilibrium comes after the metabolic (in chronosomatic terms, circa 3090 CE when the lungs with their dominant operation of osmosis are the predominant organ within the plane of the present). As to 20th century architectural design, I think a fair case can be made as to the notion of construction and destruction innately working together, e.g., Pruitt Igoe, modern urbanism's tabula rasa approach, the fall and then rise again of stylistic eclecticism, designed obsolescence, etc.
Human sacrifice is metabolism at its destructive extreme, where as human existence between the stages of sperm and egg, conception and ultimately birth is metabolism at its creative extreme. This may not seem to indicate a direct relation to design/architecture, but it certainly defines both of metabolism's limits. Of course, all the other creative-destructive processes are relatively less intense.
The wonder of the metabolic process is that the combination of construction and destruction is the prime ingredient of life itself. One half does not and cannot eliminate the other. In other words, metabolism is a form of duality at its best.

2002.02.24 14:53
Re: Monument to King Victor Emmanuel II
It just so happens that images of the Monument to King Victor Emmanuel II are already within "Theatrics Times Two". These images are stills from the movie The Belly of the Architect, and they form a kind of double theater with still images from the movie The Ruling Class. It was (at least) the pictorial symmetry of both films that led me to compare them. The story lines of each film also play out a double theater. The Ruling Class is especially recommended viewing.

2009.02.24 11:49
pragmatists turning political?
What you describe above relates more to schizophrenic situations, i.e., states characterized by the coexistence of contradictory or incompatible elements, rather than to bilocational situations. Perhaps even more schizophrenia-lite. [Or are schizophrenia-lite and bilocation-lite somewhat similar?]
Coexistence and bilocation are not the same thing.
Schizophrenia is a whole split.
Bilocation is two of the same whole.

2009.02.24 20:38
pragmatists turning political?
before things get too carried away here...
"bilocation as it is, however, accepts the disordered, or varied, virtual. its a baroque and complex intertwining of narratives, myths, of the foundation of logic even prior to logic itself..."
Gosh, that sounds just like Quondam.

2009.02.24 23:49
pragmatists turning political?
The real answers regarding bilocation selves evidently reside in two places.

2009.02.24 23:56
pragmatists turning political?
And be careful not to confuse bilocation for duplicity.

12022401   Francisville Housing site plan within IQ/2 unit plans   2292i04   b
12022402   Francisville Housing presentation boards   2292i05   b

13022401   IQ data in sync with Parkway Interpolation   2278i12

15022401   Bldg 9598b @ GAUA 1100x550   2429i124
15022402   Bldg 9598c @ GAUA 1100x550   2429i125
15022403   Bldg 9598d @ GAUA 1100x550   2429i126
15022404   Bldg 9598e @ GAUA 1100x550   2429i127
15022405   Bldg 9598f @ GAUA 1100x550   2429i128
15022406   Bldg 9598g @ GAUA 1100x550   2429i129
15022407   Bldg 9598h @ GAUA 1100x550   2429i130

16022401   Acropolis Q site plan 1100x550 IQ61 Ury   2266i19

18022401   OMA   College Sciences Building

18022401   Jubilee Church model opaque only   229hi02

20022401   Silent Witnesses Intro House Extro House plans model axonometric  2225i09
20022402   pre-modern domestic Hadrian's Villa Alhambra Palazzo Medici Riccardi Dürer House Château de Chambord Louvre Villa Rotonda Hardwick Hall Château de Maisons Palace/Park of Versailles Ury House and Farm Mount Pleasant Palace on the Acropolis Schloß Neuschwannstein Orchards Palace Stoclet Whitemarsh Hall Villa Snellman plans site plans   206ki18
20022403   iq61+58 Domestic Museum plans working data   2477i10

21022401   Sendai Mediatheque structural funnels model opaque working data   229oi01
21022402   Sendai Mediatheque building context model opaque working data   229oi02
21022403   Carpenter Center for the Visual Arts model opaque working data   2188i07
21022404   Villa NM model opaque working data   2336i02
21022405   Barcelona Museum of Contemporary Art model opaque working data   225hi03

To show examples of flexible criteria of resemblance, let me quote, not the most radical occult and Hermetic theories, but rather some instances of a very reasonable semiotic technique, the one recommended by the authors of the arts of memory. Those authors were neither Kabbalists nor sorcerers summoning spirits. They simply wanted to build systems for remembering a series of ideas, objects, or names through another series of names, objects, or images of objects. Other authors (Rossi 1960; Yates 1966) have studied and described the complex constructions of loci. that is, of real architectural, sculptural, and pictorial structures that those theorists built in order to provide a systematic plane of expression for the contents to be memorized, signified, and recalled. It is clear, however, that these mnemotechnic apparatuses were something more than a practical devise for remembering notions: it is not by chance or for decorative purposes that the systems of loci frequently assume the form of a Theater of the World or emulate cosmological models. They aim at representing an organic imago mundi, an image of a world which is the result of a divine textual strategy. Thus, to be semiotically efficient, they reproduce the presumed tangle of signatures on which the Universe as a significant Whole is based. As Ramus (1581) has remarked, memory is the shadow of the order (of the dispositio), and order is the syntax of the universe.

But even though an ars memoriae was conceived as a mere practical devise, it had in any case to find recognizable links between a given image and the thing to be evoked. In order to establish such a relationship it was advisable to follow the same criteria that held for the interpretation of cosmic analogies. In this sense these artes tell us something about various socially and culturally established semiotic rules.
Umberto Eco, The Limits of Interpretation, p. 25.

Husker Du Haus, too   2006.02.24




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