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Gordon Wu Hall
Author: Denise Scott Brown & Robert Venturi
Year: 1983 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Gordon Wu Hall
Author: Denise Scott Brown & Robert VenturiYear: 1983 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The real color comes when you look at the photographs, the glossy plates, in all their splendor. "Tout, au monde, existe pour aboutir au Livre." Well, at least the picture book! and many are the postmodern buildings that seem to have been designed for photography, where alone they flash into brilliant existence and actuality with all the phosphorescence of the high-tech orchestra on CD. Any return to the haptic and the tactile, like Venturi's conversion to respectability in the Gordon Wu Hall at Princeton, with its polished metals and genuinely solid banisters, seem to hearken back to Louis Kahn and the "late modern," when building materials were expensive and of the finest quality and people still wore suits and ties. It is like the transition from precious metals to the credit card: the "bad new things" are no less expensive, and you no less consume their very value, but (as will be suggested later on), it is the value of the photographic equipment you consume first and foremost, and not of its objects.
The real color comes when you look at the photographs, the glossy plates, in all their splendor. "Tout, au monde, existe pour aboutir au Livre." Well, at least the picture book! and many are the postmodern buildings that seem to have been designed for photography, where alone they flash into brilliant existence and actuality with all the phosphorescence of the high-tech orchestra on CD. Any return to the haptic and the tactile, like Venturi's conversion to respectability in the Gordon Wu Hall at Princeton, with its polished metals and genuinely solid banisters, seem to hearken back to Louis Kahn and the "late modern," when building materials were expensive and of the finest quality and people still wore suits and ties. It is like the transition from precious metals to the credit card: the "bad new things" are no less expensive, and you no less consume their very value, but (as will be suggested later on), it is the value of the photographic equipment you consume first and foremost, and not of its objects.
Source type: pictureSalk Institute
Author: Louis Kahn
Year: 1965 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Salk Institute
Author: Louis KahnYear: 1965 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The real color comes when you look at the photographs, the glossy plates, in all their splendor. "Tout, au monde, existe pour aboutir au Livre." Well, at least the picture book! and many are the postmodern buildings that seem to have been designed for photography, where alone they flash into brilliant existence and actuality with all the phosphorescence of the high-tech orchestra on CD. Any return to the haptic and the tactile, like Venturi's conversion to respectability in the Gordon Wu Hall at Princeton, with its polished metals and genuinely solid banisters, seem to hearken back to Louis Kahn and the "late modern," when building materials were expensive and of the finest quality and people still wore suits and ties. It is like the transition from precious metals to the credit card: the "bad new things" are no less expensive, and you no less consume their very value, but (as will be suggested later on), it is the value of the photographic equipment you consume first and foremost, and not of its objects.
The real color comes when you look at the photographs, the glossy plates, in all their splendor. "Tout, au monde, existe pour aboutir au Livre." Well, at least the picture book! and many are the postmodern buildings that seem to have been designed for photography, where alone they flash into brilliant existence and actuality with all the phosphorescence of the high-tech orchestra on CD. Any return to the haptic and the tactile, like Venturi's conversion to respectability in the Gordon Wu Hall at Princeton, with its polished metals and genuinely solid banisters, seem to hearken back to Louis Kahn and the "late modern," when building materials were expensive and of the finest quality and people still wore suits and ties. It is like the transition from precious metals to the credit card: the "bad new things" are no less expensive, and you no less consume their very value, but (as will be suggested later on), it is the value of the photographic equipment you consume first and foremost, and not of its objects.
Source type: pictureInfo: Salk Institute in La Jolla, California, Louis Kahn, 1959 - 1965
Original size: 800x518 px. Edit