Art vs. architecture
...virtually nauseating until I saw how most (not all) of the posts reflect personal comfort zones vs. personal discomfort zones. And then it became virtually nauseating again when individuals try to project their comfort zones as being somehow axiomatic. And then it got interesting again seeing how the implicit discomfort zones harbor the most inspiration.
Perhaps the Duchamp Inn (2007)...
...will begin to be known as the Discomfort Inn.
Sign on the door reads, "Architects Pay Extra."
Art vs. architecture
Yet Duchamp Inn is fully intended as architecture. Just like the intention here...
Why do you think you're creative?
I'm just starting to read a collection of critical essays on James Joyce, and so far it's interesting to see how Joyce's unique creativity seems to induce a creativity from the essayists that they might not normally have. I've sometimes noticed a similar effect when reading critical essays on Duchamp. Philippe Duboy's Lequeu: An Architectural Enigma is perhaps the apotheosis of this kind of critical effect creativity.
Is it then a fair hypothesis that one's critical deliberation of a unique creativity might well engender an as yet uncommon creativity from oneself?
I'm now wondering whether the above image of Castle Howard from Vitruvius Britannicus (published 1715-1725) somehow inspired the architecture of Piranesi as delineated within Il Campo Marzio (1762). Remember the...
I was prompted by the "what is experimental architecture" thread to look again at "Piranesi's Campo Marzio: An Experimental Design." After reading a few pages it became evident that the essay/project could be 'rewritten' to deliver a whole other set of results, a whole other 'history.'
By covertly publishing the Ichnographia in a second state was Piranesi himself conducting an experiment to see who would ultimately discover the two different plans?
Piranesi's language of the plans relates back to the origins of Rom(ulus and Remus) itself.
"Both Piranesi's Campo Marzio and Picasso's Dame au violon are "projects," though the former organizes an architectural dimension and the latter a human mode of behavior. Both use the technique of shock, even if Piranesi's etching adopts preformed historical material and Picasso's painting artificial material (just as later Duchamp, Hausmann and Schwitter were to do even more pointedly). Both discover the reality of a machine-universe: even if the eighteenth century urban project renders that universe as an abstraction and reacts to the discovery with terror, and the Picasso painting is conceived completely within this reality.
But more importantly, both Piranesi and Picasso, by means of the excess of truth acquired through their intensely critical formal elaborations, make "universal" a reality which could otherwise be considered completely particular."
Manfredo Tafuri, Architecture and Utopia: Design and Capitalist Development, p. 90.
There is no Picasso painting with the title Dame au violon, but it is possible that Tafuri is referring to Portrait of a Girl (1914):
Project: redraw the Ichnographia Campus Martius following the principles of Picasso's (Synthetic) Cubism.