2026.03.29
Pennypack Trail Lorimer Park
Abandoned Cave Dwelling from Centuries Ago
Abandoned Box from the 20th Century Only
2025.03.29
451 Rhawn Gallery
 
 
 
details of some of the Air Quote Picassos within Mary Boone's 180 Hours of Community Service
2023.03.29
29 March 2023 Wednesday
From The Discovery of Piranesi's Final Project
Remembered an obscure passage from Vincenzo Fasolo's "Il Campomarzio di G. B. Piranesi, which I reread last weekend:
"As a generator of forms, as a constructing architect, he shows his abilities in the reconstruction and renovation of the church of S. Maria del Priorato. It is a work done in the maturity of his 45th year, and was commissioned by Cardinal Rezzonico in 1765. For Pope Clement XIII he designed some improvements for the villa at Castelgandolfo, and a project for the apse of St. John Lateran. None of these designs were executed. The facade of S. Nicola in Carcere has recently been attributed to him by [Giuseppe] Fiocco."
According to Wikipedia: "The church was rebuilt in 1599, with a new facade by Giacomo della Porta (though the medieval campanile - originally a fortified tower, then adapted to a bell tower after being abandoned - was not altered)." According to Piranesi, by Smith Collage of Art, 1961: "Giuseppe Fiocco, “La facciata di San Nicola in Carcere,” Palladio, IV (1954), pp. 131ff. It is not quite clear if the author wants to attribute the whole or part of the façade to Piranesi." Curious and interesting.
I have no prior knowledge of S. Nicola in Carcere; it's a fascinating aggregate of buildings in and of itself. And Piranesi marks the location of S. Nicola in Carcere, within the Ichnographia Campus Martius, with a plan of the Templ. Jani.
2017.03.29
Working Title Museum 005
17032901.db Working Title Museum 005 @ Pantheon Paradigm model work
2016.03.29
new camera
 
2013.03.29
Is drawing dead?
...you just wrote something that uncannily relates to how I see my designing via CAD as different from how architects are generally taught to design. From virtually the very beginning, now 30 years ago, CAD has indeed made me want to "design by quickly throwing something together," and it's not to be fast and done, but to be that confident and actually good.
2012.03.29
Re: Traditional Architecture
If ours is "an era of decadent, mass-produced, Orwellian mendacity about everything our culture is or aspires to be," then isn't that what our architecture should reflect?
2007.03.29
I saw Rem at Outback Steakhouse.
Orhan, thanks for the update. My mind is full of weird bits of information from long ago that I now sometimes wonder whether I just dreamed the stuff or not. The Gehry-Hopper House(s) is a case in point. Although I haven't been there since the 1980s, I like the whole LA area and scene. I always thought, though, that if I stayed there too long then the big one would hit--just had the feeling that me and LA is like a cocktail for catastrophe. While I was flying home from LA August 1986 one plane hit another plane in the sky nearby. One of the planes was a Mexican Airliner, I think. Maybe you remember. Or maybe I just dreamed it up. Who knows?
I like the real-virtual blurring of your film set. Very there and not there at the same time.
I saw Rem at Outback Steakhouse.
Orhan, thanks again. Now what was the name of that early Morphosis designed restaurant in Venice? I can picture it (I remember a pale green color), but I can't think of the name. Passed it on the way to Gehry's Rebecca's.
...and speaking of random tangents
quondam
Rita Novel
Wolfhilde von Schlittenfahrt
SuperImpose
Crystal Vanish
I'm with stupid>>>
singing in the shower
Precog
don't look at me
I like extremes.
every inch a gentleman
spoiled rotten cocker
Who did I used to be?
Frank O. Goldberg
petting zoo purgatory
once was
Off. o. Acropolitan Arch.
I’m laughing my ass off.
This is an advertisement.
001 Lauf
002 Lauf
003 Lauf
004 Lauf
Atlas of Rita Novel Tectonics
JohntheBaptist Piranesi
LeDeuzzy, Q.
Miss Rita Novel
Marcel Breuer
Random Access Memory
2006.03.29
Questions about Typography of Architecture
...I can't provide any answers to "why", but the 'architecture' font has been part of Intergraph's CAD program since at least 1983. Back then I remember thinking "how ironic" to utilize CAD to make something look "hand made". Luckily, when the (older) architects I worked for back then were shown that the 'architecture' font was available within "the CAD system" they too found it ironic and chose not to use it.
Most here do not even know how 'shocking' CAD drawings were within a working office back in the early 1980s--there was initially a lot of resistance to having drawings that looked too different than hand-drawn drawings. Many, many hours were spent in discussion on how drawings were to look. The transition from hand-drawn CDs to CAD drawn CDs did not happen overnight.
Questions about Typography of Architecture
Steven, it was not the goal of early CAD to see how much CAD drawings could look like hand drawings. In some ways CAD, at least very good early CAD like Intergraph, designed for NASA, had it's own new drawing aesthetic. You could say, however, that it was the goal of a lot of established (CAD resistant) architects "to see how much like hand drawings" CAD drawing could be.
Plus, what I wrote above doesn't just sound right, it is right. I was there.
The second set of CAD CDs I produced were for a project by Carles Vallhonrat (he was the project architect for Kahn's Salk Institute) and he very much sought to work within the CAD drawing aesthetic which ultimately were meshed with the CD drawing standards he set years earlier for the CDs of Salk Institute. There is no doubt in my mind that that was a rare exercise/experience in 1984. I was most glad that he complied with my wish to "print" the drawings at 11" x 17", thus using the electrostatic printer (as opposed to the pen plotter) and then the xerox machine for copies instead of the "blue print" machine.
2004.03.29
Re: Diane Arbus at LACMA
aspirations??? doesn't everyone deserve a chance???
post cad chance
post goth chance
post virtual chance
post humous change
the odds of Ottopia
Re: ORGANIC FORMS EXHIBIT AN AESTHETIC PROPORTION
Do you know how many artworks in my house incorporate the 'golden mean'? I mean, there's Hey Art Picasso, How's Your Brother Dick? and 2 = odd, Dick, and all those mostly blank panels in the gallery, and, OMG, all those early quondam webpages with tables 600 pixels wide subdivided by tables 370 pixels and 230 pixels wide. It's like the organic odds of Ottopia or maybe really subliminal organic containment. Go figure.
2002.03.29
Whitaker Mills Barn
   
Tacony Creek Park Philadelphia c1813
I finally got around to taking pictures of the circa/post 1813 substantial stone barn remains of the now gone Whitaker Mills compound at Tacony Creek and Tabor Road, Philadelphia. Within a few weeks, this somewhat majestic structure will again be almost completely covered by vegetation. Despite this barn's age and its probably being the only such stone structure left in Philadelphia, it nonetheless will likely sometime in the future be purposefully demolished by the Fairmount Park Commission (with the reason being its potential liability as a safety hazard). My picture taking is perhaps the only preservation this 'historic' structure is ever going to receive.
1993.03.29
Group in Venice CAD version
93032901.db Group in Venice
1992.03.29
Exhibit One CAD version
920329n1.db Exhibit One details
1979.03.29
Geometry: its internal workings, its external expression, and its meaning in architecture
page five
page six
1968.03.29
1968. Friday, New York City
Michel Sanouillet and his wife, who are in New York for the exhibition and symposium on Dada and Surrealism [25.3.1968], are invited to 28 West 10th Street. Monique Fong calls by and Sanouillet takes some colour photographs of Duchamp.
Ephemerides
1956.03.29
1956. Thursday, Philadelphia
As agreed with Henri Marceau [21.3.1956] Duchamp is due at the museum at three o'clock to prepare for the arrival at four of Peter Juley, who is to make colour transparencies of Nu descentant un Escalier, No.2 [18.3.1912] and Le Roi et la Reine entourés de Nus vites [9.10.1912]. About seven in the evening, when it is dark Duchamp and Juley have permission to go up to the gallery to photograph the Large Glass [5.2.1923] in colour by artificial light.
Ephemerides
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