1 August

1520 Baldassare Peruzzi was associated with Antonio da San Gallo in the superintendence of the works at S. Peter's church

1755 letter from Robert Adam regarding the dedication of Piranesi's next plan of ancient Rome
1795 first stone laid of James Gandon's Inns of Court in Henrietta Street, Dublin

1819 death of Pierre Adrien Paris
1885 death of Thomas Leverton Donaldson

Scott's "Humanist Values"
1997.08.01     1914 4417

Sep. Mariae Honorij Congiig.
1998.08.01     e2601 e2611 e2731 e2749 e2804 e2917 e2929 e2967 e2985 e3020

2001.08.01     5043

Guggenheim reenacts the Vatican
2001.08.01     5043

Re: vatican museum
2001.08.01 18:03     5043

"Hejduking" Haus der Kunst
2001.08.01     2306 3713c

in perjorem partem rapere means...
2002.08.01 22:04

Learning from Las Vegas + SMLXL = Dubai
2007.08.01 18:08     3335b

I smell a Vorläufer
2008.08.01 20:58     3333i 3775n

2009.08.01 21:06     3332i

Narrow Streets Los Angeles
2012.08.01 10:53     3773k 3775r 3786n 9006t
2012.08.01 11:03     3330l
2012.08.01 17:37     3330k

1 August
2014.08.01 19:21     3309c 3713k

OMA   City Museum Extension   Mumbai

MVRDV   Turm mit Taille   Vienna

Virtual Domain 002 2001.05.16

2002.08.01 22:04
in perjorem partem rapere means...
to put a worse construction on

2008.08.01 20:58
I smell a Vorläufer
According to Adam, the architectural schools of the Renaissance, Mannerist and Baroque periods had fossilised the rules and standards implicit in the masterpieces of classical Greece and Rome. These theorists, by codifying the artistic laws of the ancients, had removed the sense of freedom and liberty of expression which, in Adam's view, were essential to the creative process. In turn, this rigidity had resulted in the perpetuation of designs which were at once uninspired and monotonously heavy. "The great masters of antiquity," he wrote, "were not so rigidly scrupulous, they varied the proportions as the general spirit of their composition required, clearly perceiving that, however necessary these rules may be to form the taste and to arrest the licentiousness of the scholar, they often cramp the genius, and circumscribe the ideas of the master."
--Robert Oresko

110080101 Pavillion Suisse elevation   2159i02
110080102 Farnsworth House plan   2174i02

2012.08.01 10:53
Narrow Streets Los Angeles
I wouldn't call Yoon's project an exercise in fiction, rather an exercise in virtuality. Unfortunately, "Narrow Streets Los Angeles" follows the all-too-common notion of blurring the real and the virtual. After finally looking at the selection of narrowed streets, I understand what Eric means by "make it all seem cute"--there is indeed a distinct Los Angeles urbanity lost when the streets are no longer the width of almost rivers. The intersection of Cottman and Bustleton Avenues in Northeast Philadelphia actually reminds me a lot of LA (pictured on page 780 of The Harvard Design School Guide to Shopping), and, while surrounded by a plethora of narrow domestic streets, the busy intersection has a quite comfortable large scale fitting to its current nodal function.
Incidentally, Bustleton Avenue has its origin as an 'ancient' Indian trail, while Cottman Avenue started as a straight property line on the 1687 map of Pennsylvania.

Cottman Avenue is the line parallel and left of the red line above. The blue dot is where I'm sitting right now, and the meander either side of the red line is Pennypack Creek.
Regarding exercises in virtuality, I prefer it when the virtual is held more distinct from the real. For example, taking LA streets and mixing one side of a street with the side of another street, and either playing with the width or not, seems more interesting.

2012.08.01 17:37
Narrow Streets Los Angeles
virtually related...

12080101 Mikveh Israel Synagogue model   220ci03   b

2014.08.01 19:21
1 August
work: 2197 3390

John Hejduk
The Architect can create illusion, which can be fabricated. --John Hejduk
Since Hejduk is called an architect of illusion, he can in a sense be described as an architect of the visionary and the fanciful. This description is substantiated by the fact that since 1953 not one of his plan projects has been realized. Mention of architectures of the visionary immediately brings to mind a group of great men- including Étienne-Louis Boullée and Claude-Nicolas Ledoux-who have captivated people from the classicists of the eiqhteenth century to the flag bearers of the brilliant and glorious art movements of our century. But there is something decidely different in Hejduk that sets him apart from these men. In Hejduk one cannot see the arbitrary and overwhelming consumption of passionately abandoned and hedonistic architectural forms that are found in he works of Ledoux and Joseph-Jacques Ramee. In these men the forms were born of a way of life. Hejduk's forms are more subtle, refined, and controlled. They are more the results of continuous ascetic dedication than of daring flights of the imagination. In the vast cities and buildings drawn by Boullée and Ledoux, humanity is shown as stringently controlled by the overwhelming and crushing obsession with size. It is size, indeed, that symbolizes the works of these men. Though he works on residential design, from the moment he begins an idea, Hejduk adheres consistently to a main theme. Human beings are seen nowhere in his sketches, which give no indication that they depict places where people might dwell. Boullée and Ledoux create architectural forms that ought to be devoted to the service of society under a new system; they develop a monumentalism of death and nihilism. Hejduk, on the other hand, devotes himself to formal theories that have distance and are abstract. His works are imbued with a lyricism of life. This lyricism, which proves that he is an architect, is the basic meaning of what he calls the poetics of architecture. His illusion is a three-dimensional expression of poetics, and it is in this sense that Hejduk can be called an architect of illusion.
summary of "Special Feature: John Hejduk" in a+u Architecture and Urbanism (1975.05).

14080101 House 10: Museum plans model 22002 Campo Rovine context   2197i111   b

16080101 Minerva Medica @ Horti Lucilliani   206ii10

15080101   OMA   City Museum Extension   Mumbai
15080102   MVRDV   Turm mit Taille   Vienna

17080101 surface models work   2462i07

18080101 CCTV elevations work   2332i20
18080102 CCTV model work   2332i21
18080103 CCTV elevation work   2332i22

20081001   Victims site plan work   225ki12

22080101 Maze House axonometrics -30,0,0 etc.   229li24
22080102 Maze House axonometrics -85,60-150-240-330,0 raw   229li25
22080103 House 8 plans images   2193i06
22080104 Wall House 2 House 2 elevations raw model   2495i02




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