17 March


We just make Iraq the 51st State of the Union, and be done with it?
Read my lips: "New World [according to my] order."
Philatelically speaking, I miss the old world of colonial empires.
Lick this.

The kicky part about Helena being Julian's great grandmother is that the first wife of Julian's grandfather, Constantius I, is Julian's great grandmother Helena and then the second wife of Constantius I is Julian's grandmother Theodora. No wonder Julian apostatized.

"Hey Helena, you and Eutropia should co-author The Art of Imperial Wife and Daughter Swapping in Better Late Antiquity Than Never."

"Oh, didn't you know? We already kinda sorta did that when we interventionally inspired Thomas Mann's The Holy Sinner."

"Ah, then that explains why I saw "God's Bricklayer" reading that book while smoking in the Boys Room."

Meanwhile, like a quaestio abstrusa, the gang is looking for all the instances where Koolhaas/OMA use the Ichnographia Campus Martius as floorpaper within the presentations of some of their projects. So far there's: Schiphol S, Extension to the MoMA and CCTV.

"Hey Piranesi, does this mean anything?"
"Not even like using existing iconography to evoke some new and original architectural ideas."
"I'm sorry, but did you just forget who you're talking to?"

Louis I. Kahn died of a heart attack in a public restroom of New York's Pennsylvania Station upon returning from a trip to Bangladesh.


virtual mausoleum


My burial plot is in the cemetery next door.

quaestio absrusa = 'search for the consealed' = puzzle (as least according to The New College Latin & English Dictionary).

And here's some of my thoughts regarding the Indian continent. First, it's like Africa, almost like an African reenactment even, except smaller and the Himalayans to the north instead the Mediterranean. Yet, only Africa has the Great Pyramids. But there definitely is Sri Lanka instead of Madagascar. Smaller, yes, but perhaps a little more culturally developed over time? It looks at least close, and to complete the set, there's the Australian continent with its Tasmania.

The world's a very big place, so surely there's even room for FAT people. Besides, there's always hope.


Regarding the Lieb House "sail" window, see the elevation of the just prior Frug House II and then the plan of Frug House II.

Oh, I thought it was more like having a hard time shifting out of bilocation gear.
Anyway, been meaning to interject a little exposition of the "politics of the plan"

Coincidentally typed this morning:
There is a profound "immobility" in the technological world which science fiction writers have often portrayed as the reduction of every experience of reality to an experience of images (no one ever really meets anyone else; instead, everyone watches everything on a television screen while alone at home). This same phenomenon can already be sensed in the air-conditioned, muffled silence in which computers work.
Flattened out, simultaneous, the world appears de-historicized. What made up "modern"--i.e. the experience of living every day in a narrative history of progress and development reinforced by the daily newspaper--now comes to a halt. The "master" narrative, once a secularization of religious salvation, now fails, and multiple other possible narratives rise up."
--Gianni Vattimo, quoted in "Postmodern or Posthistoire?"

2009.03.17 17:10
Making it/Thinking Architectural
Architectural history flattened.

Architectural history reduced to a few lines.

2009.03.17 18:38
Making it/Thinking Architectural

Using a 3-dimensional representation as a plan (of a city maybe), kind of like architectural thinking in reverse.

I still have scale it with a map, but Kahn's burial plot is somewhere in the top left quadrant, maybe just within the western edge of Campo Rovine.

Are the Koolhaas/OMA instances of Ichnographia Campus Martius usage also examples of "history flattened"? Is the Ichnographia Campus Martius itself an example of "history flattened"?

Read again last night the Vidler/Eisenman conversation in Log 28. Vattimo came up a bit.

It's becoming more and more clear that lots of the fuel that burned Tafuri's contemporary-architecture-critique fire came from Scully's early 1960s writings. And, judging from a comment I once saw/heard Scully make about Tafuri, I think he already knew it.

Mar 17, 14 1:22 pm
I intentionally did not wear green today because I'm a boring old stick in the mud.
Mar 17, 14 5:40 pm
Olaf Design Ninja_

Time flattened and chopped into little experiences laid out on a table (this is a Henri Bergson reference to time in Creative Evolution, before he tells us what time is) Time is like a movie. How did koolhaas acquire the wall paper physically and virtually? And no there is not enough room in this world for fat people when history is flattened.

Mar 18, 14 7:59 pm

The Koolhaas/OMA use of the Ichnographia Campus Martius as 'floor paper' (not wall paper) occurs in several project, but the one project (that I know of at least) where the usage went from schematics through to execution is the plinth of the CCTV Headquarters.

The ICM 'floor paper' usage still occasionally occurs in more recent projects as well. And there's a little more 'backgrpond' on the subject here.


Mar 19, 14 10:27 am
Olaf Design Ninja_

So coolhaus is a recreational traditional architect? Like someone who watches HGTV and becomes a designer by osmosis?

Mar 19, 14 10:50 pm

Perhaps it's more actually an echo of something Kahn did 53 years ago.

Mar 20, 14 5:24 pm
Olaf Design Ninja_

Was koolhaas there when Kahn did that? Is it clairvoyance or subconscious desire to understand icongraphia...or a secret Club like fight club?

Mar 20, 14 5:46 pm

Koolhaas was 17 years old and in the Netherlands when the picture was taken at Kahn's office in Philadelphia. The picture was then featured within Scully's book, Louis I. Kahn (1961). Marshall Meyers took the picture. (Meyers was in charge of completing the Yale Center for British Art after Kahn's death; I met Meyers briefly one evening, Fall 1981, in Yale's A&A building, and again the next morning in the Center for British Art. That's also the second and last time I saw 'Teeny', the mosquito embedded within one of the large window panes of the fourth floor corner-toward-the-Green gallery. The co-worker I showed Teeny to was astounded that I actually knew that tiny remnant of an insect was indeed there.)

My guess is that Koolhaas/OMA came to Piranesi's Ichnographia Campus Martius via Tafuri, who, in any case, came to the Ichnographia within contemporary architecture via Scully/Kahn.

ECHO  ECHo    ECho     Echo      echo     e   c    h     o

Secret club and fight club.

Mar 20, 14 7:48 pm
Olaf Design Ninja_

Going to call this work icon-graphica if you don't mind. Could we assume Rem Koolhaas knew of this work prior to writing Delirious New York? Coney island as analogy? My detest for architectural theory is its obsession with drawings, but that was 10 years ago....I need to catch up and see if we have moved on to the 3d virtual model. So in short Las Vegas is the icon-graphica or for that matter disney world with Marceline, Mo as it's basis for main street (made a touchdown saving tackle in junior high at the tigers home field...marceline was in the same conference as paris, mo...I know you know that place) With that said will read some more quondom

Mar 21, 14 7:36 am

Yes, the same as that employed in the two previous works. But this time, another reagent is introduced to the chemical process of catalyzing the form: the forty-five degree rotation of the geometric solid relative to the cage will let us try to understand the work before passing judgment. House I (the Barenholtz Pavilion in Princeton), 2158 and House II, 1969 (fig. 18), are one single search directed towards neutralizing every "realistic" perception of the building. The pure prism comes into conflict with the intersection of the floors and with the point-configuration of  this rotation, is emptied. This theme bears only a superficial resemblance to Hejduk's Diamond House or to some of the work of Graves. To Eisenman, rotation serves only to question the very concept of "composition." There can be no synthesis after this transgression - as there is for Graves - nor any self-satisfaction in the work - as there is for Hejduk in Projects A, B, and C.

This means that not only must the semantic aspects be put aside, but so must the pragmatic ones. What is left is only  "virtual space": as with Hejduk's, Eisenman's architecture has been violently attacked as anti-architectonic abstraction.

Mar 17, 15 4:27 pm

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