2026.01.25
Box of the Mid-70s
suenevershowed@washingtonsquare.arch spring break 1977
else . place
 
insane...
Laufer with Art History Major Guggenheim Museum spring break 1977
Lauf with Art History Major Wildwood vacation 1975
2025.01.25
a work within This One's for George
2021.01.25
21012503.db Pyramids of Gizeh Colosseum Palace/Park of Versailles Pruitt-Igoe Housing Parc de la Villette Karastan iq58 site plans models
2006.01.25
The Beginning of a Semester, or Some Meditations on...
Enrique, my mother was working as cook at the Baron von Ow villa in Harlaching when the Allies first bombed Munich. Harlaching, a wealthy neighborhood, seemed to be one of the targets, maybe because Rudolph Hess's (empty?) villa was just around the corner from the von Ow's. January two years ago I asked my mother to tell me all about the experience. Franziska Baroness von Ow, the daughter and youngest son, the upstairs maid and my mother huddled in the basement, while Konrad Baron von Ow and the two older sons were outside--did the Baron maybe have a rifle with him? One of the houses down the street toward Theodelinden Platz was badly hit. My mother remembers carrying blankets for the Baroness as they, and the whole neighborhood actually, went down to aid the victims.
2003.01.25
virtual paintings
I saw the Jay Davis/Mary Boone ad in January 2003 Artforum (again) last night. I see where the 'architectural' notion in this thread is coming from. I saw more of Davis at the Mary Boone web site this morning, plus some of Dan Kopp online; didn't find Monogenus, however.
I was struck by a strong similarity between Davis' work and a set of (512) digital images I quickly composed the last four days of April 2001. My images were used as webpage backgrounds for a compact disk publication, and before I am again accused of self promotion, hear me out because I want to raise the issue of the strong likelihood that computer graphics are very much influencing, whether consciously of unconsciously, perceptions/depictions of 'painterly space' (to use a simple phrase) these days. [I'm not suggesting that Davis is somehow familiar with my work, however.]
I know how I came to these images. First I screen captured architectural images I generated using 2d and 3d CAD (computer aided design) software. Then I played with these images within the very basic 'photopaint' software I got with my scanner back in 1996. When I say played, I mean I merely utilized any numbers of image manipulation options on a given image, completely arbitrarily, for about 10 minutes or so, then saved the result, and then started over again with the same 'original' image, or moved on to a next 'original' image, or continued to manipulate the manipulated image I just stored, played with that some more, and then saved it as a whole new image.
Once I got started, it was quick, quick, quick, and easy, easy, easy. Granted the digital images are not large paintings, but they could be, or they could be projected on a large monitor (note they are already projected on a small monitor), or they could be printed on large transparencies and mounted on a light box, etc. The quickness of image generation process is a big plus, and should not be discounted as 'not seriously skillful enough' (again to use a simple phrase). Computers did/do greatly enhance and accelerate dexterity, remember.
Picking up on Capricorn's concise history of 'picture space' above, the space within software on a computer screen has to be annexed to that history. Architects were somewhat forced to accept the new 'drawing plane' of the computer screen (and luckily I've been doing just that since February 1983). I remember very distinctly back then wondering where this new way of drawing and viewing imagery was going to lead. I also early on learned that just being completely arbitrary with it all lead very quickly to the most fecund results.
2001.01.25
AD[vocating] PUBLICITY
Virtual architecture can be many things, and not necessarily something facilitated by the internet. Virtual architecture that is facilitated by the internet, however, should reasonably utilize whatever the internet has to offer. There can be representation and there can be presentation. Virtual architecture can represent the world as we know it or it can present something other than the world as we know it. Personally, I think it more challenging and design-wise more stimulating to use virtual architecture facilitated by the internet to try presenting something other than what is already available.
Because I focused on creating an 'other than what is already there' museum I learned that collecting and exhibiting digital data only begets more and more and more digital data, i.e., I found myself with a[n architectural] collection that is virtually infinite. This virtual infinite characteristic comes from the intrinsic mutable nature of digital data. As an architect, I now see a virtual architecture challenge in now trying to design a virtual museum [of] architecture that matches the virtual infinity of its collection.
1965.01.25
1965. Monday, New York City
In the afternoon, Marcel and Teeny are the witnesses for the marriage of Denise and David Hare at City Hall. While waiting in the antechamber before the brief ceremony, Marcel is recognized as a "celebrity" by members of another wedding party also waiting their turn, which causes a momentary diversion.
Invited to a champagne dinner in the evening at 28 West 10th Street are the Hares, Muriel Oxenburg and Enrico Baj.
Ephemerides
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