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two languages

geometrical fundamentalism

(blowhard critiques)

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HDM Architecture As Conceptual Art? Fall 2003 / Winter 2004, Number 19


"The question here is not whether architecture is “legitimate” as an art form or is concerned with the ideation of form, but specifically how it operates or defines itself. When architecture is presented not as building technology, social development, or economic production, but rather as art, it operates in a different role—neither as building nor its representation but rather as a specific kind of cultural commodity. As such, it asks to be redefined in relation to its sister objects. If, for instance, architecture sees itself as a conceptual activity, the label is affiliated with a host of other conceptual art practices that have been legitimated elsewhere in the art world. Making this connection depends on a (usually formal) resemblance to these other objects. Conceptual architecture then participates—or at least attempts to align itself—within a cultural ecosystem that defines its participants and its objects as possessing a privileging aura. If, as art historian and Getty Research Institute director Thomas Crow caustically observed, the artistic avant-garde acts as the “research and development” arm of the culture industry, then architecture in this sense certainly belongs to the arts."



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architectural review
Disappearing Act

Daniel Libeskind’s plan for ground zero was the people’s choice, but the architect has been virtually neutralized by commercial forces.


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50 new architectural terms for the 21st century


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europe_by_ net



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Rosalind Krauss


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the urban center



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eisenman on terragni

AR interview

"First, let me go back to something Rosalind Krauss [art critic and theorist] said. She said that the animating device in the 1970s was the photograph—the photograph was a record of an event. In this sense it was an index, which was an attempt to modify the iconic value of the object. What is the problem with an icon? The object-as-icon is based on the metaphysics of presence [a belief in a unifying force behind truth and knowledge], as opposed to pure presence. So, my own work in architecture attempts to produce a series of photographic plates or indices in the sense that Krauss was talking about: I have taken existing maps and superposed them to reduce their iconic, historical, and pictorial value. But the Santiago project is slightly different: It is no longer merely an index of these superpositions. For example, in Santiago, my idea was to superpose a Cartesian grid onto the existing, organic, medieval “grid,” and warp or deform them with a topological grid that projects upward. This produces lines of force that were never a part of projective geometry. They mutate in the third dimension. This has a powerful impact on the ground surface. It is a way of dealing with the ground not as a single datum, not as a foundation, not as something stable. It disrupts its iconic value, turning it into an index."


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marmol-radziner


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D/R


benjamin thompson




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weehouse



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neiman marcus christmas '03 catalog 27k luxury ice fishing house.


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FL Wright houses currently on the market.




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This lot showed up in the mail today - incredible vintage photographic prints featuring the construction of the Golden Gate Bridge including shots of the placement of a beam closing the final gap in the span. I was able to search out the photographer's biographical information from the single word Zan printed on one of the six photographic-postcards included in the group :

Alexander J. "Zan" Stark (1890 - 3/17/1967) He was born in Michigan moving to California in his early 20's. He first lived in San Francisco moving to Mill Valley in the mide 1920's Zan Stark was a postcard photographer from and had his studio at 324 Miller Avenue in Mill Valley in Marin Co., California. He worked from the 1920's into the early 1950's under the name Zan of Tamalpais. He photographed the California coast from Monterey Co., Big Sur, the Redwood Highway and most of Northern California and also up in to Oregon. He also photographed in San Francisco, Sonoma Co., Napa Co. Santa Cruz Co., Lake Tahoe, Donner Lake and over into Nevada and Utah. He moved to Sonoma around 1952 and died on March 17th, 1967 in a Sonoma resthome.
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was outbid at the last moment but then the winner declined, so i got it anyway. its a piece now, but im still contemplating what i mean by it. the sellers name is "suzanneholdsthemirror" ( a LC ref.).


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more credit than I'd give gehry



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eisenmanarchitects



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emergent architecture




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on putting a cork in it



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bound and gagged wfmu


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robot snake style



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what rhymes with nowottney (see peak possition)


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borrowers miss out on record low rates : "the train is leaving the station"



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pods unite



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