hi,
this is my first post on this blog.
well, i would like to just write down my thoughts on architecture here.
so here goes.

18 of october.
Today was an interesting discussion about international style.
cramped 2 books and watched a video on yoyoma and learnt how something as abstract as music and architecture actually have a possible link.

Erwin added an element of competitiveness today when he dropped in prizes in the form of books.
boy.. so fun!
i was kinda disappointed that i didn't get the book today.
was hoping my essay got read out but..
hey.. theres always a next time.
and yeah! i want the rem koolhas booK!!!!
smlxl or delirious new york would be nice!
heard all the good reviews about it.
yeah.
kinda low on cash though.

but back to the post.

i'm thinkin about the problem of how to link richard meiers with corbusier.
i need to find a link where i can draw a parallel between his smith house and corbu's villa savoye.

Right now the only link i can think of to draw those two works together is their use of white, the pilotes, and well. meier is a big fan of corbu, so there has to be something at work that Meiers has seen and applied from corbu.
he has a house though that resembles the villa savoye alot! well part of it for that matter. its the house in westbury. but on second thoughts.. perhaps i was mistaken.

ok.
so i shall type out some nice quote from richard meier now.

as alberti said,' beauty consists in a rational integration of the proportions of all the parts of a building in such a way that every part has its absolutely fixed size and shape and nothing could be added or taken away without destroying the harmony of the whole".
" My rigor also is a seach for clarity.
This search, for me, begins with the plan. THhe plan whcich seems to have been nedlected of late, is in fact the key. The two-dimensional image contains within it the instructions for the three-dimensional object that is the building. Together with the section, it generates the building. WHile the elevation tends to pictorialize the plan and section speak to the architect abou spatial ideas. but of the two, the plan is the most convincing and fundamental expression of architectural ideas. I do believe that buildings should speak. in My work, the use of a specific and internally consisten vocabulray of elements and themes overthe years has allowed me a coherent, evolutionary means of expression. But if my vocabulary has to a large degree remained unchanged, the process wby which i manipulate and assemble this vocabulary in an architectural dialogue with the urban and historical context has become more complex and compreshensive, an intellectual developement which has coincided with the growing scope and complexity of our recent commisions.
i believe that in being sensitive to context and in evaluating it, one must know when to ignore it.
sometimes a decision to turn one's back on a negative context can become a positive gesture..
allowing a structureto create its own context, to mitigate the negative surrounds through the provision of a postitive one.