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1999...look at the late building designs of Le Corbusier and then take them a step further. For example, the Olivetti project and these wild curvy, wiggly office towers, and even then crashing them together. Moreover, the way that Olivetti is on a raised "terrain"...
2002...the nature of design itself is always a play with and/or against limits. There are always limits, even within the most free environments, but limits are pushable and stretchable, just like they can resist or snap back when pushed very hard, and sometimes stretched limits can snap back so hard that they actually propel.
"All reality is relative to the vastness of its container."
2004I wonder when there is going to be an Apostate Architecture symposium.
Let's have a vote:Do you prefer Republican Architecture or Democrat Architecture or Independent Architecture?
Is it true that someone somewhere is working a book entitled The Architecture of Taxation?
Chapter One: Money BagsChapter Two: Hand to MouthChapter Three: The Art of EvasionChapter Four: Deductible DependentsChapter Five: AttachmentsChapter Six: Chapter ElevenChapter Seven: Schloss Schatzkammer 4 sale
2005Thanks for the Freud references. Lots of food for further thought regarding the Stotesbury story. I have to say, however, that the Freud quotation--
"The Rome Analogy tries to explain how memory works through the analogy of the preservation of the archaeology of Rome. The problem arises when one tries to imagine a Rome in which every building and statue of each period of Roman history is imagined existing complete and at the same time."
--more or less describes exactly what Piranesi already did with the Ichnographia Campus Martius. In fact, a quotation from Freud's Civilization and It's Discontents --
"And now, I think, the meaning of the evolution of civilization is no longer obscure to us. It must present the struggle between Eros and Death, between the instinct of life and the instinct of destruction, as it works itself out in the human species. This struggle is what all life essentially consists of, and the evolution of civilization may therefore be simply described as the struggle for life in the human species."
-- was prelude to the 1999 presentation (in schizophrenia + architectures) of "Eros et Thanatos Ichnographia Campi Martii". Of course, I see this "struggle between Eros and Death" as nothing more than a reenactment of the metabolic process that keeps every human alive.
What interests me more now though, is the notion of Surreal Architecture and how "Here a Versailles (the original Versailles Palace), There a Versailles (Herrenchiemsee), Everywhere a Versailles (Whitemarsh Hall) Sigh" aptly manifests exactly what Surreal Architecture is.
surreal:1. having qualities attributed to or associated with surrealism2. having an oddly dreamlike quality.
surreal:1. characterized by fantastic imagery and incongruous juxtapositions2: resembling a dream
Versailles Palace as the ultimate absolute monarchy dream existence, and its odd 'place' in Germany's 'rise and fall' history (and don't forget Marie Antoinette was a Hapsburg). And now it's a prosperous tourist destination.
Ludwig II of Bavaria, The Dream King, reenacts Versailles on a Bavarian island, even more opulent than the original Versailles. Ludwig really only stayed there for 10 days, and now it's a prosperous tourist destination.
Whitemarsh Hall, the ultimate American Dream Home, turned derelict palace in suburbia, and at least one architect's "first wet architectural dream come true." No tourism here though, because there isn't much left to see.
Like you suggested earlier, there is a surreal (architecture) thing going on in "Versailles, sigh."
2013Noticed a provocative similarity between one the collages produced by Libeskind while a student at Cooper Union (c. 1969) and the plan for La Villette by Koolhaas and Zenghelis (1982).
Provocative in the sense of now mentally overlapping the two design strategies, kind of like dimensionally enhancing the already multiple choices.
those are similar collages
one difference that sticks out to me is danny's collage appears to be made of same-ness whereas rem's is made of different-ness.
not knowing anything about danny's it appears to be one building plan copied and cut up (but looking closer i do see barcelona pavillion in there next to hejduk or corb (the curvy + sawtooth building?!? what is that? what's he using?)
rem, however, sets up the bars and fills them with different activities and stuff - see delirious ny for his athletic building section .. also that stage set curtain concept
but yeah overall a similar effect
Libeskind uses bits of Barcelona Pavilion, Tugendhat House (both Mies), Carpenter Center, Palais des Congres (both Le Corbusier).
I understand the differences and especially Koolhaas' parallel program strategy, and that's why I spoke of overlapping the two strategies to perhaps then come up with something even more rich.
Coincidently read this in The Autopoiesis of Architecture early this morning:
"...and Rem Koolhaas's Delirious New York celebrating Manhattan's 'culture of congestion' and its 'critical paranoid method' of radical programmatic and stylistic juxtaposition. The phenomena that Koolhaas found in New York--congestion and random juxtaposition--were violating the prevailing Modernist principles." (p. 130)
It seems that "congestion and random juxtaposition--were violating the prevailing Modernist principles" could be said for Libeskind's collage as well.
Maybe later today I'll take the La Villette plan and cut-and-paste it like a Libeskind collage.
While thinking of all this, I was reminded of something I wrote 2004.05.18 (for sure subliminally influenced by Koolhaas): "I like the list; like chapters, like lessons, like evolutionary stages, like different floors of a building I'd love to design, like a row of restaurants while you're perpetually hungry."
And finally, like the La Villette plan is the section of the New York Athletic Club flipped down, that tower for Dubai is an older Arab settlement flipped up.
Would the Libeskind collage make for an interesting building section?