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A stolen, single-engine plane being pursued by a Coast Guard helicopter on Saturday slammed halfway up the 41-story Bank of America building in downtown Tampa, authorities said.
The pilot, a 15-year-old high school student, died in the crash.
The incident occurred about the same time two small aircraft crashed in Colorado and California, but authorities said they found no connection in the events. "None of the incidents appear to be related, and there is no indication of terrorism," said Scott McClellan, White House deputy press secretary.
Take a moment of silence, I guess.
Posting that sad plane-into-skyscraper event while relating it to reenactment prompted much discussion within the email listserv I was then part of. Maybe I'll reenact some of what was written 11 years later.
And for you tattoo or trophy lovers out there, here's a work from 2000.01.05:Trophy Tattoo 11laser print on magazine page
[I must be going blind because...] "It only looks cheap."
The sun was so low and intense while walking through the woods, that even my 5 o'clock shadow was casting a shadow.
Finally piecing together a study model of the Working Title Museum 002...
The roof plan becomes the paving pattern of the ground level/courtyard...
is that based on (or are you looking at/aware of) libeskind's v&a boilerhouse spiral addition thing? (+ eisenman plan tracing .. lsd effect)
FRaC, sure I'm aware of Libeskind's V&A Boilerhouse, and I've owned Eisenman's Diagram Diaries since early 2000. I don't know the plan or section of the Boilerhouse design, just the image you posted, and I've looked through (but not so much read) Diagram Diaries many times in the past. Working Title Museum 002 is part of a series of (schematic) designs from late summer 2000, and each version was very much intentionally designed within the architectural miliue of the very late 20th century.
The Working Title Museum 
East Bank of the Schuylkill River, Quondam
Working Title Museum 002 jumbled some of these "cubes" together...
...playing with the notion of a Gehry-Libeskind hybrid.
All along it's been an investigation, finding out what it's like to design along these lines. And, just recently, I've taken up the investigation again. Regarding the Eisenman/trace connection, what I think relates there is that I'm designing exclusively within a CAD environment--there are no sketches, drawings, physical models--it's all done just within the 'machine'. Of course I create fresh (digital) data, but much of the design work is a manipulation of existing data, and inspiration often comes from overlapping data in simultaneous 2D and 3D, seeing things from any angle, wireframe or solid, etc. The roof plan as paving idea, for example, occurred late Friday night when I was checking to see how the jumble of upper 'cubes' relate to the ground plan in plan view.
Re-newed interest in this project started with OMA's 2011.04.04 announcement of the National Art Museum of China design...
...within which I recognized a connection to H&deM's BBVA Headquarters design (2008.12.17)...
...which in turn connects to Le Corbusier's Electronic Calculation Center Olivettidesign (1963-64).
There was something about the National Art Museum of China design, however, that also made a connection to Working Titile Museum 002.
Thus beginning to see the WTM002 design in a new way. And that's what I'm investigating now.
The Quondam-on-LSD Style. Sure, why not?
Immediately after the Scenographia, it is two plates of maps serially depicting the historical build-up of the Campus Martius that Piranesi presents in the Il Campo Marzio publication. This series of historical maps is then followed by the Ichnographia Campus Martius.
The earliest map of the Campo Marzio, representing the era from 750BC to 500BC, features the Equiria, the Palus Caprae, the Ara Martius and the Terentus among a few other structures.
The Palus Caprae (or Capreae) was a site within the Campus Martius in ancient Rome. The name means "Goat Marsh" or "the Goat's pool." In myth, the Palus Caprae was the place where Romulus underwent ascension into godhood. The marsh was fed by a stream called Petronia, but by the Augustan period it had disappeared or been drained. The Palus Caprae was in the small basin where the Pantheon was later built...
The second map, representing the Campus Martius from 500BC to 225BC, features: 8. Carcer Cl. X. Vir. , 8. Basilica Caij et Lucij, 9. Villa Publica, 10. Aedes Apollin., 11. Templum Bellonae, 12. Senatulum, 13. Aedes Herculis Musarum, 15. Septa Trigaria.
The third map, representing the Campus Martius from 225BC to 44BC, features 14 temples along with: 16. Stadium, 17. Circus Flaminius, 22. Porticus Corinthia cn. Octavij, 23. Porticus Metelli, 31. Porticus Minucia, 32. Domus Pompejana, 33. Hecatonstylon, 34. Horti prius Pompejani deim Marci Antonii, and various sepulchers.
The fourth map, representing the Campus Martius from 44BC to 14AD, the era of Augustus.
For the most part, these maps coincide with the textual content of the Il Campo Marzio publications, which is Piranesi's (architectural) history of the Campo Marzio, evidenced almost entirely with references to ancient texts. Only occasionally does Piranesi delineate the plan of a building within these maps which otherwise has no historical backing.
Regardless of whether its widely understood as such or not, all architectures manifest many layers of masks, and, like cosmetic surgery, historic preservation is a most extreme form of mask.With palimpsest on the other hand, although there is erasure and then over-writing, traces of the original (text) remain.The notion of layers (of texts), be they new or old, discernible or discrete, genuine or faux, is (for me at least) the 'true' reality.Semper theoretically took architecture back to the weaving of fabric. Perhaps Semper should have said architecture goes back to the weaving of fabrication.Piranesi grossly exaggerates building scale in the Campo Marzio's outer regions, however. Nonetheless, Piranesi is deliberately 'playing' a learning game here, in that the outer regions is where Piranesi's plans and programs lack practically all veracity, hence, the hyperbole of Piranesi's architectural imagination is coded by a hyperbole of architectural scale.In simple terms, the over-sized plans of the Campo Marzio indicate buildings that Piranesi completely 'made-up', where as a high percentage of the smaller building plans indicate buildings that actually once existed and are drawn in their proper scale.Is Saarinen's Gateway Arch in St. Louis a trope or is it a reenactment? That is, is the Gateway a "turn" of manifest destiny into symbolic form, or is it a long standing architectural tradition enacted yet once again?The assimilation of trope into recent architectural (theory) writing and criticism is an example of trope itself, is it not?And it often seems (to me at least) that "troping" (excuse my verbing) within current architectural parlance and design is treated somewhat as a whole new "Concept" in and of itself.Perhaps I'm here being overly simplistic, but recent architectural tropes and the pronouncements of such often appear to be elaborate justifications for what is otherwise plainly arbitrary in terms of ultimate design form.Does the Arch in St. Louis trope Manifest Destiny or does it reenact a triumph over gravity?
Those sequential maps of ancient Rome are great.
Was the intention of the original 'Pantheon' then to mark the spot of Romulus's ascension? Does the oculus represent the portal through which Romulus entered heaven?
These days the Pantheon is the church of Holy Mary of the Martyrs.