2026.05.08
The Otto/George typewriter, that Steve also used . . .
. . . is in need of new ribbon.
2025.05.08
New Pope Cake
then again, if the shoe fits, the foot is forgotten . . . thanks, Lao Tzu
2024.05.08
designed, built
My new downstairs studio Monday evening, and the studio Wednesday, this evening. Ed Kurz, our neighborhood's independent contractor did the new construction yesterday and today.
readymade . . . sculpture garden
2020.05.08
working space
2015.05.08
Architecture Critic Mark Lamster: "We systemically encourage bad building."
Don't just embrace the junk, make it junkier!
2014.05.08
2D-3D CAD data
14050802.db Bye House Distorted plan 22002 context
2004.05.08
Dis: content
Received Content (the new Koolhaas book) in the mail a couple hours ago. Looked through the whole thing page by page once so far. After doing that I realized that Content inside looks exactly like i-D magazine of 20 years ago. The only difference is that i-D is still better at its delivery of content.
i-D, the worldwide manual of style, a sort of 'underground' fashion magazine that started coming out of London October 1980, and is today more a mainstream, albeit still 'avant garde' fashion magazine.
I still have my collection of i-Ds from the mid-1980s, and I'll keep on keeping them (especially since they are still so up to date). I doubt I'll still own Content 20 years from now, however.
reenactment note 356.38976--remember how Koolhaas' delivery of Content essentially reenacts i-D's delivery of content 20 years ago. I wonder if Koolhaas even knows he was following the "manual of style"? I seriously doubt it. Just thought of a new working title: From Euphrates Cat To Copy Cat.
The "Editor's letter' of Content by Brendan McGetrick suggests that "remaining at home [is] torturous," thus it is obvious McGetrick doesn't know that remaining at home is the grand luxury of being virtually famous.
1999.05.08
cutting-edge design
...address the recent topological approach to architecture as well. The only ideas I have so far involve a combination of digital terrain and existing models and Corbusian principles. I also have the idea of applying existing perspective details and even composite opaque surfaces to any variety of building model surfaces.
...other new ways to generate weird geometries:
1. use solid rotate, but not using the normal polar axis of rotation -- I suspect that angled axes will create very weird latticed geometrics, and if the rotated line segment is also angled, then the produced variety of shapes is all the more infinite.
2. use solid extrude, but again not using the line of extrusion in a strict polar fashion. Moreover, the original lines being extruded do not have to be on the same flat plane either.
3. begin to exaggeratingly distort my existing models, e.g., spread them out far and wide to create whole new terrains (upon which to place new buildings and/or environments). Of course, playing with (reducing) the z factor will also come into play.
4. extrude and rotate wireframes that are already in 3d -- this may prove to be completely ground-breaking, and even revolutionary.
With these four new ideas alone, I have substantially increased the notion of Quondam's infinite collection as well as substantially increased my capacity to create very formally inventive designs -- models I didn't even think were possible for me to produce before.
I'm already thinking that Quondam begins 2000 with an exhibit entitled "an infinite collection", and all I have to do is display one new collection of forms after another. I'm also thinking that this new breed of model formation and manipulation is how I create Ottopia in 3d.
1949.05.08
1949. Sunday, New York City
In the morning Marcel writes a lengthy report to Louise and Walter Arensberg about his visit to Philadelphia on Friday. Attaching his own sketch plans of the space proposed by Fiske Kimball for their collection, Marcel writes: "The difficulty will be now to divide the space offered so that it does not look like an ordinary museum collection." He also suggests that when they go to Chicago [17.4.1949] and before making the final decision, they should see the museum in Philadelphia.
Ephemerides
1916.05.08
1916. Monday, New York City
On his return to Manhattan after an absence of a week, Duchamp finds three letters waiting for him. Two are from John Quinn, dated 1 and 3 May requesting translations [26.1.1916] of two letters, one from Duchamp-Villon and another from George Rouault; the third is from the artist Morton Schamberg who is organizing an exhibition in Philadelphia in collaboration with Bourgeois Gallery [1.4.1916] and would like to include a work by Duchamp and Femme assise by Duchamp-Villon, which belongs to John Quinn [15.3.1916].
Ephemerides
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