7 June

1754 death of Nikolai Eigtved
1761 birth of John Rennie

1803 birth of Léon Vaudoyer

combined building documentations
1996.06.07     2196 2286 3120z 3730 4014i 5517b

combining models
1996.06.07     2156

1997.06.07     2165 3122z 3788

BIA notes

the more real Piranesi-effect
1999.06.07 23:49     3727 3728b 3792d 5399b

88 houses of ill repute
2002.06.07 13:06     4015n
2002.06.07 18:03     3716f

from mnemonics to Mnemosyne
2004.06.07 5:07     3727d

7 June
2013.06.07 19:08     e2632 3303i 3703j 3713i

In the future, everything will be a museum.
2014.06.07 15:39     3727i

The Discovery of Piranesi's Final Project
2022.06.07     8000p

OMA   Garage Museum of Contemporary Art   Moscow

1999.06.07 23:49
the more real Piranesi-effect
The more real 'Piranesi-effect' of our time is the continual confusion and misinterpretation of Piranesi's Ichnographia Campus Martius by architects, architectural historians, and architectural theorists over the last forty-three years.
Beginning with major factual errors within Vicenzo Fasolo's "The CAMPOMARZIO of G.B. Piranesi," which first appeared in Quaderni dell'Instituto di Storia dell'Architettura, n.15, 1956, Piranesi's large plan of the Campo Marzio has received one misinterpretation after another.
After Fasolo, the Campo Marzio's greatest misinterpreter is Manfredo Tafuri, who wrote eloquently, albeit incorrectly, about the Campo Marzio in both Architecture and Utopia - Design and Capitalist Development, 1976 and The Sphere and the Labyrinth - Avant-Gardes and Architecture from Piranesi to the 1970s, 1987. Outside of the strictly historical accounts of Piranesi's Campo Marzio printing by John Wilton-Ely in The Mind and Art of Giovanni Battista Piranesi, 1978 and by Jonathan Scott in Piranesi, 1975, Tafuri's texts were the only written interpretations of the Campo Marzio readily available to architectural thinkers throughout most of the [20th] century's last quarter. Tafuri's well respected position as the Director of the Department of History of Architecture at the Instituto Universitario di Architettura in Venice led to an unquestioned acceptance of Tafuri's words regarding the Campo Marzio.
Taking Tafuri's false lead, a string of contemporary architects and/or architectural theorists consistently paraphrase Tafuri's texts, thus further procreating subsequent generations of ill-bred Campo Marzio interpretations. The (architectural) authors and texts are:
Stanley Allen, "Piranesi's Campo Marzio: An Experimental Design" in Assemblage (Cambridge, MA: MIT Press Journals, December, 1989), pp. 71-109.
Jennifer Bloomer, Architecture and the text: the (s)crypts of Joyce and Piranesi (New Haven: Yale University Press, 1993).
Peter Eisenman, "Autonomy and the Avant-Garde" in Autonomy and Ideology: positioning the avant-garde in America (New York: Monacelli Press, 1997), pp. 70-9.
Alex Kreiger, "Between The Cursader's Jerusalem and Piranesi's Rome" in Form, Modernism, and History (Cambridge, MA: Harvard University Graduate School of Design, 1996), pp. 151-164.
Rafael Moneo, "Recent Architectural Paradigms and a Personal Alternative" in Harvard Design Magazine (Summer 1998).
Sanford Kwinter, "Can One Go Beyond Piranesi?" in Eleven Authors in Search of a Building (New York: The Monicelli Press, 1996).
Using the Kwinter quotation, "the effect of unforeseeable complexity that arises from multiple interfering structures blindly pursuing their own clockwork logic," as a case in point, one only has to compare it to the following Tafuri quotation, "The clash of the formal organisms, immersed in a sea of formal fragments, dissolves even the remotest memory of the city as a place of Form," and "the whole organism seems to be a clockwork mechanism," to see that Tafuri's misinterpretations of the Campo Marzio still guide those that do not know better.
Perhaps the Kwinter quotation really defines the 'Tafuri misinterpretation of Piranesi-effect.'

2004.06.07 5:07
from mnemonics to Mnemosyne
The evocation of Lethe is extremely apt because it is indeed 'forgetfullness' that is the most present modus operandi at Ground Zero. The 'erasure' was erased long ago.
Rebuilding the World Trade Center Towers as they were is only the easiest form of reenactment, but not necessarily the only form of reenactment, nor necessarily the most effective form of reenactment.
Is not memory itself humanity's primal form of reenactment?

13060701 Villa Appositional plans   2425i01

14060701 Working Title Museum 002 model 22002 in situ   2324i18   b
14060702 Working Title Museum 002 cubed wireframe and opaque model 22002 in situ   2324i19   b

15060701 Eventual Cities 003 plan   2447i01   b

15060701   OMA   Garage Museum of Contemporary Art   Moscow

17060701 Glass House plan elevations   2171i01

18060701 Palace of Versailles and Park working plans image   2092i29
18060702 IQ63s16 Surface Buildings 01-04 06 14 15 models   2470i05
18060703 IQ63s16 Surface Building 05 model work   2470i06

19060701 Headquarters of D.A.T.A. plan model   2397i07

21060701   Ichnographia Phila/Roma 002 iiq plans   2348i47   b



3792 c0629

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