14 June

Villa Savoye/Maison l'Homme combination
1996.06.14     2156 3120z 3730

Villa Savoye/Maison l'Homme compare/contrast
1996.06.14     2156 2196

model data
1996.06.14     2156 2198 2206 2209 2219 2226 3713b

interview 2.6
1999.06.14 12:21     3730c
1999.06.14 12:26     3730c

1999.06.14     3775b 3784d 3792d 5399b

engraving and inversion (reversal) - Piranesi
1999.06.14     e2749c

reenactment architectures
1999.06.14     3773b 3775b 5140 5128

please comment or destroy, thank you
2009.06.14 15:36     3332m 3741c 3770y 3773i

2014.06.14 11:17     3736ab 3744e

Herzog & de Meuron   Kabinett   Basel

Villa Savoye/Maison l'Homme compare/contrast
In seeing the Villa Savoye and the Maison l'Homme side-by-side, it is interesting to note the comparisons and contrasts of the two buildings. It is almost as if the Maison l'Homme is like the Villa Savoye inside-out. That may not be the best description, but there are a series of reversals going from the Villa Savoye to the Maison l'Homme:
1. the raised box of the Villa Savoye is placed flattly on the ground at the Maison l'Homme.
2. the roof garden open to the sky at the Villa Savoye is placed under a roof at the Maison l'Homme; also the terrace at the Villa Savoye is moved to the roof at the Maison l'Homme.
3. the interior ramp at the Villa Savoye is on the outside at the Maison l'Homme.
4. the pilotis that symbolically raise the upper building at the Villa Savoye, only raise the detached roof at the Maison l'Homme.

I'm learning a major lesson about the "writing" of history in doing my Helena/early Christian architecture research, and it is sometimes so clear that "history's" occasional omission of seemingly insignificant details effectively changes the awareness of what really happened.

1999.06.14 12:21
interview 2.6
When I began constructing 3D CAD models of unbuilt architectural designs in the mid 1980s, I inaugurated a whole new way of studying architecture, specifically the study of built or buildable form through 3-dimensional drawing. In creating the models I was simultaneously enacting an architectural self-education, and since I was specifically constructing buildings that were never built, I was (self) learning lessons that did not even exist in the real world, yet, nonetheless, the lessons were purely about architecture. So besides all the buildings I've looked at and all the books I've read, I've also been influenced by some buildings that do not even exist. At this point, Quondam in all that it offers is probably the best overall reflection of my "architectural" mind, i.e., Quondam discloses a large portion of my architectural dispositions. Quondam is not a complete reflection of my architectural mind/brain, however.

1999.06.14 12:26
interview 2.6
I suppose what is most evident in my manipulative cad work is that virtually anything can be rendered graphically, and my personal inclination is to explore manipulations whose potentials are overlooked only because of traditional design (training and) conditioning. I also like (and therefore practice) the notion that it is easier to design by breaking "rules" than it is to design by following "rules".

99061401 Palace of Ottopia plan   2305i01

reenactment architectures
...the whole notion of reenactment itself, and how it differs from simulacra and plain memesis. The key factor is the "acting" out again of a prior event or situation, which is different from mere copying.

07061401 Acropolis Q roof studies model perspectives   2266i14   b


2009.06.14 15:36
please comment or destroy, thank you
Been reading The Judicious Eye: Architecture Against the Other Arts by Rykwert (2008), and, for some reason I'm not entirely sure of, it came to mind as I read the initial post here. I think it's like I see The Judicious Eye as what the above essay draft could be were it really developed (into a dense 492 page book). What the above essay is empty of (and The Judicious Eye certainly is not) is direct reference to specific buildings and designs along with the architects and artists thereof. Interestingly though, The Judicious Eye is more a complicated subject unfolded, and not so much a complexity. Treating the subject of The Judicious Eye as a complexity could be a very robust endeavor however.

14061401 Ur-Ottopia House plans elevations perspectives   2303i05
14061402 Good-Bye House perspective   2345i05
14061403 Ur-Ottopia House model   2303i06

15061401 Mies van der Hejduk House Quondam model work plan/roof plan diagram   2448i03   b   c
15061402 Mies van der Hejduk House Quondam model extended roof/house   2450i01   b   c   d

15061401   Herzog & de Meuron   Kabinett   Basel

16061401 GAUA S04 IQ28 block inverted opaque  
16061402 GAUA S04 IQ28 Cubist ICM infill   2429i189
16061403 GAUA S06 IQ28 block inverted opaque  
16061404 GAUA S06 IQ28 Cubist ICM infill   2429i190
16061405 tallest of thier time Washington Monument fixed   2060i17

18061401 Guggenheim Museum Bilbao plan section elevation   2271i04
18061402 Guggenheim Museum Bilbao plan   2271i05
18061403 Guggenheim Museum Bilbao plan model no match   2271i06   b
18061404 Guggenheim Museum Bilbao Pantheon Paradigm Sector 7 plans   2271i07   b
18061405 Guggenheim Museum Bilbao Pantheon Paradigm Sector 5 plans   2271i08   b
18061406 Guggenheim Museum Museum Annex Analogous Building Palace of Ottopia Lauf Haus der Kunst plans   2271i09

19061401 Pyramids of Gizeh plans site plan elevation section   2060i28
19061402 Parthenon plan elevation section details   2066i16

20061401   Basilica of St. Agnes plus half plans   2072i04
20061402   Wolf House plan elevation   214ci03
20061403   Apartment Building Weissenhof plans elevations site plan   215hi02
20061404   German Pavilion plan elevation model opaque working data   2152i08

2014.06.14 11:17


Madelon Vriesendrop, Freud Unlimited, 1978

Dali's Paranoid-Critical Method (PCM) is a form of reinforcement therapy, but in the opposite direction. Instead of the diseased perfprming the rituals of health, Dali proposes a tourism of sanity into the realm of paranoia.
When Dali invents the PCM. paranoia is fashionable in Paris. Through medical research its definition has been amplified beyond simple persecution mania, which is only one fragment of a much larger tapestry of delusion. In fact, paranoia is a delirium of interpretation. Each fact, event, force, observation is caught in one system of speculation and "understood" by the afflicted individual in such a way that it absolutely confirms and reinforces his thesis--that is, the initial delusion which is his point of departure. The paranoiac always hits the nail on the head, no matter where the hammer blows fall.
Just as in a magnetic field molecules align themselves to exert a collective, cumulative pull, so, through unstoppable, systematic and in themselves strictly rational associations, the paranoiac turns the whole world into a magnetic field of facts, all pointing in the same direction: the one he is going in.
The essence of paranoia is this intense--if distorted--relationship with the real world: "The reality of the external world is used for illustrtion and proof . . . to serve the reality of our mind. . . ." Paranoia is a shock of recognition that never ends.
Rem Koolhaas, Delirious New York, 1978

Venice Architecture Biennale 2014

Well, in a way it is an engineered schizophernic structure. To some extent we have always insisted on a critique of the myth of the professionalism of the architect.
Rem Koolhaas, "Finding Freedoms: Coversations with Rem Koolhaas", 1991

Genetic Engineering 003, 2005

Fashion Statement 005, 2001

outside in :: inside out

Virtual Exhibition 012, 2006

Villa Appositional, 2013

My Favorite, 2001




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