To: design-l
Subject: Quelle
Date: 2002.08.23 11:40
The following is an excerpt from a post to Design-L by lauf-s on 7 November
1999:
As it stands now, my ongoing investigation and redrawing of the Ichnographia
[Campus Martius] has led to the 'discovery' of a whole new aspect of
Piranesi's work that so far no one else has found, namely that the large
plan of the Campo Marzio is a readable narrative of Ancient Rome's political
and architectural history -- but in order to grasp this delineated 'text'
one must 'read' in unison the individual plans, the plans in relationship to
each other, the plans in relation to where the actual buildings really were,
and (this is perhaps the most important) the Latin labels Piranesi gives to
each plan. A paper I'm just now completing will be delivered the end of this
month at the Inside Density colloquium in Brussels, Belgium. You can read
the bulk of the paper so far beginning at xxx.htm [INACTIVE] . You might
also be interested in my outline/critique of Tafuri's 'mistakes' regarding
the Ichnographia xxx.htm [INACTIVE] ).
Of course, the above passage is a follow-up to my 'reinterpretation' post
yesterday, but it also fulfills its own subject line--Quelle is the German
word for source.
In a longer text entitled "Investigations" within ASYMPTOTE FLUX, Rashid
and/or Couture write, "Virtual art will continue to flourish, some of it
created by established artists, some by pretenders, and works will emerge
irrespective of the artworld's preset expectations and criteria for
legitimacy." In a truly inversely fitting manner, Asymptote's Virtual
Guggenheim Museum is nothing more than contemporary architecture's most
pretend virtual building, and, moreover, it is the pretension of the Virtual
Guggenheim Museum (especially as it is already described in current
architectural 'history' books) that works only to greatly erode "the
artworld's preset expectations and criteria."
From: lauf-s
To: design-l
Subject: beyond the envelop (sketch)?
Date: Sat, 12 Feb 2000 14:25:29 -0500
John inquires:
Weren't Polshek, Goldberger and Futter adorable on Charlie Rose last night?
Such happiness and glee.The envelope sketch! How whitewashy.
Steve replies:
I particularly liked the momentary, almost imperceptible awkwardness that
arose when the Natural Sciences' likewise new virtual museum (ie, all the
continually updated scientific data that will be available on the museum's
website) was being described by Futter as something much beyond the new
Polshek building.
I'm now wondering if all the built environment of our planet is
'progressing' towards becoming a global (virtual) theme park, while
cyberspace becomes the place where 'actual' 'real' data takes up residence.
Subject: Quelle
Date: 2002.08.23 11:40
The following is an excerpt from a post to Design-L by lauf-s on 7 November
1999:
As it stands now, my ongoing investigation and redrawing of the Ichnographia
[Campus Martius] has led to the 'discovery' of a whole new aspect of
Piranesi's work that so far no one else has found, namely that the large
plan of the Campo Marzio is a readable narrative of Ancient Rome's political
and architectural history -- but in order to grasp this delineated 'text'
one must 'read' in unison the individual plans, the plans in relationship to
each other, the plans in relation to where the actual buildings really were,
and (this is perhaps the most important) the Latin labels Piranesi gives to
each plan. A paper I'm just now completing will be delivered the end of this
month at the Inside Density colloquium in Brussels, Belgium. You can read
the bulk of the paper so far beginning at xxx.htm [INACTIVE] . You might
also be interested in my outline/critique of Tafuri's 'mistakes' regarding
the Ichnographia xxx.htm [INACTIVE] ).
Of course, the above passage is a follow-up to my 'reinterpretation' post
yesterday, but it also fulfills its own subject line--Quelle is the German
word for source.
In a longer text entitled "Investigations" within ASYMPTOTE FLUX, Rashid
and/or Couture write, "Virtual art will continue to flourish, some of it
created by established artists, some by pretenders, and works will emerge
irrespective of the artworld's preset expectations and criteria for
legitimacy." In a truly inversely fitting manner, Asymptote's Virtual
Guggenheim Museum is nothing more than contemporary architecture's most
pretend virtual building, and, moreover, it is the pretension of the Virtual
Guggenheim Museum (especially as it is already described in current
architectural 'history' books) that works only to greatly erode "the
artworld's preset expectations and criteria."
From: lauf-s
To: design-l
Subject: beyond the envelop (sketch)?
Date: Sat, 12 Feb 2000 14:25:29 -0500
John inquires:
Weren't Polshek, Goldberger and Futter adorable on Charlie Rose last night?
Such happiness and glee.The envelope sketch! How whitewashy.
Steve replies:
I particularly liked the momentary, almost imperceptible awkwardness that
arose when the Natural Sciences' likewise new virtual museum (ie, all the
continually updated scientific data that will be available on the museum's
website) was being described by Futter as something much beyond the new
Polshek building.
I'm now wondering if all the built environment of our planet is
'progressing' towards becoming a global (virtual) theme park, while
cyberspace becomes the place where 'actual' 'real' data takes up residence.