It only occurred to me recently that a couple of simple lyrics from the theme song of The Addams Family television show (1964-66) may well have subliminally inspired an aspiration I've subsequently held on to the rest of my life. I was eight years old when The Addams Family first aired, and it right away became one of my favorite shows. Aside from the kooky fun of it all--"Tish, you spoke French!"--it was the house that I loved most. It was, no doubt, my first (albeit unwitting) introduction to a cabinet of curiosities, the Wunderkammer.
The real and/or virtual house as museum. Fascinating!
[This has been a completely free virtual blog for quondam and museumpeace. Had this been an actual blog, you would have been told so immediately. Stay tuned for further updates as they come into existence. In the meantime, enjoy this.]
quondam, have you seen this book -- the delirious museum? it talks about the idea that "the museum should be a continuation of the street – as easy to enter, as amusing to pass through." (i haven't read it.)
made me think of my brief stops at yours. there's something that really shifts -- in display, reception, intention, sensibility -- when you start calling a collection a 'museum.' i love the foppishness of it all ...
i hate to admit but seeing the addams family house set in color.. kind of ridiculous color..makes it all the more interesting. I suppose some of the reason for this was to make the eventual black and white contrast more vibrant and noticeable on screen but seeing a space that one associates with bleakness splashed with all that color i think embellishes the 'cabinet of curiosities' effect
Feb 3, 06 12:58 pm ·
·
I was very happy to see the Addams Family house in color--something I wanted to see for over forty years. I always knew that "in color" was the reality, yet the virtual 'black and white' reality is all we, the audience, really knew, and that always disappointed me.
Old art books also disappoint because they are mostly all 'black and white" too. Joseph Cornell's work--talk about 'cabinets of curiosities'--look much better in color than they do in black and white, and I feel the same about the Addams Family house.
Dark Shadows (eventually in color) began where The Addams Family left off, premiering 27 June 1966. I saw the Collins Family Houses as museums too.
Not much has changed in three years except the cards themselves; now they have $100 bills printed on their backs.
I recently discovered that a Pre-Shrine comes into existence when the Shrine itself is found.
tomorrow's museum peice?
Feb 9, 06 1:44 pm ·
·
1998.02.09 Aldo Rossi and the Axis of Death
...construct a model of Rossi’ Modena Cemetery and present an essay--“Aldo Rossi and the Axis of Death." ...reference to Rossi’s own death in September ‘97 and to the Death and the Triumphal Way... The main point of the text will be to demonstrate the effect of the Bustum Hadriani on Rossi’s Modena Cemetery design. ...reveal the direct influence of Piranesi on Rossi in general, and the influence of the Ichnographia in particular. Rossi, through his own accidental death, is now part of the whole September ‘97 “extraordinary-nessâ€.
It is interesting, however, that Piranesi and the Ichnographia are never mentioned in The Architecture of the City or in The Scientific Autobiography, even though the autobiography is all about Rossi's personal inspirations.
In reading the article in Oppositions 5, there are some descriptions of Rossi’s notions of the city that also describe the Ichnographia.
=====
1998.02.09 D.A.T.A.
Department of Architectural Theory Annexation - D.A.T.A.
annex 1 a : to attach as a proper attribute or as a distinctive quality b : to attach as a necessary consequence c : to add or join as a condition 2 aarchaic: to add or join as an essential part barchaic: to add or join as a subordinate or accessory part 3 a : to add at the end of something written or spoken : SUBJOIN, APPEND 4 a : to join in a closely united but subordinate capacity : take pocession or control of : assume rights or jurisdiction over; specif: to incorporate
annex a : an added stipulation or statement b : SUPPLEMENT; esp: a collection of supplementary structure either part of or separate from a main structure.
=====
1998.02.09 The Ongoing History of the Circle/Square Juncture
...the story begins with Serlio and the Stanza geometry article. Then comes the Canon of Polyclytus, the solar system, the Timepiece gauge, phases of the imagination as related to the internal organs. ...also include the Villa Rotunda/Goldenberg House study, and the Timepiece of Humanity notes.
Raymond Pitcairn, Glencairn, Bryn Athyn, Pennsylvania, 1928-39
Glencairn, originally a house, is now a museum open every weekend. Usually they take you straight up to the tower room. No question one of my favorite rooms anywhere.
Images of all the architecture of central Bryn Athyn are now available at Quondam.
Log 15 is a slice through the present, featuring the current work and thinking of some of today's leading [really!?!] architectural historians and theorists: Barry Bergdoll, Mario Carpo, Jean-Louis Cohen, Beatriz Colomina, Hubert Damisch, Peter Eisenman, Kurt Forster, Mark Jarzombek, Irving Lavin, Sylvia Lavin, Mark Wigley, and Mirko Zardini. Assembled to honor Phyllis Lambert on her 80th birthday, these essays range from an architectural and archaeological reading of Chris Marker's post-apocalyptic film La Jetée to Dravidian architecture in India; from Gordon Matta-Clark's erasure of architecture to the persistence of asphalt; from the influence of Andy Warhol on ambient architecture past and present to the house in the museum and the museum in the house.
Hey R, remember when we had champagne and snacks with Phyllis Lambert at her Montreal loft in Fall 1979? Weren't there like long, white shear draperies hanging all over the place. It's kinda funny to think that she had absolutely no idea what we were doing there. Didn't we also like rudely leave when we got bored? (Those draperies turned out to be useful for something.) [true story]
Went down to Independence National Park this afternoon. Wanted to take pictures of the 1976 Liberty Bell pavilion (Mitchell/Guirgola Architects) before it becomes completely quondam when the Bell is moved to its forthcoming new home in Spring 2003. With all the news about the first Executive Mansion (with slave quarters) of the USA, you would think that the plans to demolish the present Liberty Bell pavilion would be rethought (as I mentioned before).
Anyway, all the historic shrines are now barricaded and guarded (since 9-11), so I took pictures of this latest layer of American shrine history as well.
Palimpsest is not exactly apposition because an erasure occurs before something new is applied. Apposition occurs within palimpsest when traces of the erasure begin to be seen again.
R, weren't you at Independence National Park at 12 midnight 1 January 1976 when the Liberty Bell was moved to the new pavilion?
What's really artistic about self-collecting is its ongoing nature as an unfinished work in progress (like the only worthwhile art that JY writes of). Self-exhibiting is artistc for the same reason. Here's one of the treasures I've collected: [a link that no longer exists]
I'd like to see pictures of the now-demolished Liberty Bell Pavilion surrounded by Jersey barriers if you have them, quondam. They'll make me feel all warm and fuzzy while simultaneously cold and prickly.
Mar 26, 09 11:08 am ·
·
Independent Hyperbole 001
Independent Hyperbole 002
Independent Diptych
Mar 26, 09 11:39 am ·
·
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Their house is a museum, when people come to see 'em
It only occurred to me recently that a couple of simple lyrics from the theme song of The Addams Family television show (1964-66) may well have subliminally inspired an aspiration I've subsequently held on to the rest of my life. I was eight years old when The Addams Family first aired, and it right away became one of my favorite shows. Aside from the kooky fun of it all--"Tish, you spoke French!"--it was the house that I loved most. It was, no doubt, my first (albeit unwitting) introduction to a cabinet of curiosities, the Wunderkammer.
The real and/or virtual house as museum. Fascinating!
[This has been a completely free virtual blog for quondam and museumpeace. Had this been an actual blog, you would have been told so immediately. Stay tuned for further updates as they come into existence. In the meantime, enjoy this.]
Virtual Wunderkammer.
Don't leave home without it.
A living piece.
Thank goodness. Now I can relax.
said Rita Novel one year ago tomorrow.
What do these two houses have in common?
http://local.live.com/default.aspx?v=2&cp=40.068914~-75.08879&style=o&lvl=2&scene=1834543
http://local.live.com/default.aspx?v=2&cp=40.041468~-75.202408&style=o&lvl=2&scene=1814901
http://www.soane.org/
The wavelength is definitely now stronger.
Do I decide to buy the house next to me when it eventually comes up for sale, perhaps as soon as this Spring?
Or do I keep my museums more purely virtual?
[Real means fairly large amounts of money. Virtual means money amounts not much more than pocket change these days.]
Is the House in Ottopia a 21st century play on the Soane Museum?
quondam, have you seen this book -- the delirious museum? it talks about the idea that "the museum should be a continuation of the street – as easy to enter, as amusing to pass through." (i haven't read it.)
made me think of my brief stops at yours. there's something that really shifts -- in display, reception, intention, sensibility -- when you start calling a collection a 'museum.' i love the foppishness of it all ...
a (very foppish) joke from the 1980s:
Q: What comes after museum?
A: Pre-Shrine.
[does that mean preshrinepeace.com or BUST?!?]
quondam, excellent photo..
i hate to admit but seeing the addams family house set in color.. kind of ridiculous color..makes it all the more interesting. I suppose some of the reason for this was to make the eventual black and white contrast more vibrant and noticeable on screen but seeing a space that one associates with bleakness splashed with all that color i think embellishes the 'cabinet of curiosities' effect
I was very happy to see the Addams Family house in color--something I wanted to see for over forty years. I always knew that "in color" was the reality, yet the virtual 'black and white' reality is all we, the audience, really knew, and that always disappointed me.
Old art books also disappoint because they are mostly all 'black and white" too. Joseph Cornell's work--talk about 'cabinets of curiosities'--look much better in color than they do in black and white, and I feel the same about the Addams Family house.
Dark Shadows (eventually in color) began where The Addams Family left off, premiering 27 June 1966. I saw the Collins Family Houses as museums too.
2003.02.09
Not much has changed in three years except the cards themselves; now they have $100 bills printed on their backs.
I recently discovered that a Pre-Shrine comes into existence when the Shrine itself is found.
tomorrow's museum peice?
1998.02.09
Aldo Rossi and the Axis of Death
...construct a model of Rossi’ Modena Cemetery and present an essay--“Aldo Rossi and the Axis of Death." ...reference to Rossi’s own death in September ‘97 and to the Death and the Triumphal Way... The main point of the text will be to demonstrate the effect of the Bustum Hadriani on Rossi’s Modena Cemetery design. ...reveal the direct influence of Piranesi on Rossi in general, and the influence of the Ichnographia in particular. Rossi, through his own accidental death, is now part of the whole September ‘97 “extraordinary-nessâ€.
It is interesting, however, that Piranesi and the Ichnographia are never mentioned in The Architecture of the City or in The Scientific Autobiography, even though the autobiography is all about Rossi's personal inspirations.
In reading the article in Oppositions 5, there are some descriptions of Rossi’s notions of the city that also describe the Ichnographia.
=====
1998.02.09
D.A.T.A.
Department of Architectural Theory Annexation - D.A.T.A.
annex 1 a : to attach as a proper attribute or as a distinctive quality b : to attach as a necessary consequence c : to add or join as a condition 2 a archaic : to add or join as an essential part b archaic : to add or join as a subordinate or accessory part 3 a : to add at the end of something written or spoken : SUBJOIN, APPEND 4 a : to join in a closely united but subordinate capacity : take pocession or control of : assume rights or jurisdiction over; specif : to incorporate
annex a : an added stipulation or statement b : SUPPLEMENT; esp : a collection of supplementary structure either part of or separate from a main structure.
=====
1998.02.09
The Ongoing History of the Circle/Square Juncture
...the story begins with Serlio and the Stanza geometry article. Then comes the Canon of Polyclytus, the solar system, the Timepiece gauge, phases of the imagination as related to the internal organs. ...also include the Villa Rotunda/Goldenberg House study, and the Timepiece of Humanity notes.
The museums of the future will be quite amusing.
was the herzog & de meuron design for the kramlich residence ever completed?
i though it was under construction but never heard anything ..
their house was to be a museum for digi art ~
I believe it was completed in 2003. Not sure.
Raymond Pitcairn, Glencairn, Bryn Athyn, Pennsylvania, 1928-39
Glencairn, originally a house, is now a museum open every weekend. Usually they take you straight up to the tower room. No question one of my favorite rooms anywhere.
Images of all the architecture of central Bryn Athyn are now available at Quondam.
Cairnwood
beginning at www.quondam.com/42/4185.htm
Bryn Athyn Cathedral
beginning at www.quondam.com/43/4207.htm
Glencairn
beginning at www.quondam.com/43/4241.htm
Academy of the New Church Administration Building
beginning at www.quondam.com/43/4274.htm
Log 15 is a slice through the present, featuring the current work and thinking of some of today's leading [really!?!] architectural historians and theorists: Barry Bergdoll, Mario Carpo, Jean-Louis Cohen, Beatriz Colomina, Hubert Damisch, Peter Eisenman, Kurt Forster, Mark Jarzombek, Irving Lavin, Sylvia Lavin, Mark Wigley, and Mirko Zardini. Assembled to honor Phyllis Lambert on her 80th birthday, these essays range from an architectural and archaeological reading of Chris Marker's post-apocalyptic film La Jetée to Dravidian architecture in India; from Gordon Matta-Clark's erasure of architecture to the persistence of asphalt; from the influence of Andy Warhol on ambient architecture past and present to the house in the museum and the museum in the house.
Barry Bergdoll (in a virtual museum) homes in on the museum
Mario Carpo searches for an author
Jean-Louis Cohen goes underground with Chris Marker
Beatriz Colomina finds the museum at home
Hubert Damisch adds to a means of subtraction
Peter Eisenman paints himself into a corner
Kurt W. Forster reopens the book on architecture
Mark Jarzombek pursues the conceptual
Irving Lavin pairs up architectural patrons
Sylvia Lavin reintroduces Andy Architect
Mark Wigley channels Gordon Matta-Clark
Mirko Zardini pounds the asphalt
re: being/critical
2002.04.11 17:27
Museum smile--say (Seagram's) whiskey.
Hey R, remember when we had champagne and snacks with Phyllis Lambert at her Montreal loft in Fall 1979? Weren't there like long, white shear draperies hanging all over the place. It's kinda funny to think that she had absolutely no idea what we were doing there. Didn't we also like rudely leave when we got bored? (Those draperies turned out to be useful for something.) [true story]
Went down to Independence National Park this afternoon. Wanted to take pictures of the 1976 Liberty Bell pavilion (Mitchell/Guirgola Architects) before it becomes completely quondam when the Bell is moved to its forthcoming new home in Spring 2003. With all the news about the first Executive Mansion (with slave quarters) of the USA, you would think that the plans to demolish the present Liberty Bell pavilion would be rethought (as I mentioned before).
Anyway, all the historic shrines are now barricaded and guarded (since 9-11), so I took pictures of this latest layer of American shrine history as well.
Palimpsest is not exactly apposition because an erasure occurs before something new is applied. Apposition occurs within palimpsest when traces of the erasure begin to be seen again.
R, weren't you at Independence National Park at 12 midnight 1 January 1976 when the Liberty Bell was moved to the new pavilion?
What's really artistic about self-collecting is its ongoing nature as an unfinished work in progress (like the only worthwhile art that JY writes of). Self-exhibiting is artistc for the same reason. Here's one of the treasures I've collected: [a link that no longer exists]
I'd like to see pictures of the now-demolished Liberty Bell Pavilion surrounded by Jersey barriers if you have them, quondam. They'll make me feel all warm and fuzzy while simultaneously cold and prickly.
Independent Hyperbole 001
Independent Hyperbole 002
Independent Diptych
Block this user
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