Can we be sure that the European tourist’s pilgrimage to the Pietà of St. Peter’s is less fetishistic than the American tourist’s pilgrimage to the Pietà of Forest Lawn (here more accessible, tangible at close range)? Actually, in these museums the idea of the ‘multiple’ is perfected. The Goethe Institut recently remade in Cologne Man Ray’s spiked flatiron and his metronome with an eye; and since Duchamp’s bicycle wheel survives only in a photograph, they reconstructed an identical one. In fact, once the fetishistic desire for the original is forgotten, these copies are perfect. And at this point isn’t the enemy of the rights of art the engraver who defaces the plate to keep low the number of prints?
This is not an attempt to absolve the shrines of the Fake, but to call the European sanctuaries of the Genuine to assume their share of the guilt.
Umberto Eco Travels in Hyperreality,1973 (trans. 1986)



Scott Outdoor Amphitheatre, Swarthmore College, PA. Designed by Thomas Sears and completed in 1942. 

2ft high retaining walls are made from layers of local schist slabs and the randomly spaced trees are Liriodendron tulipifera (Tulip Tree) and Quercus alba (White Oak).

I love the idea of a ‘turf proscenium floor’ and it looks like a great place to learn. I can imagine this kind of space would conform to the theories of design laid out in ‘A Pattern Language’ by Christopher Alexander…

Looks like a scene from Swan Lake, how beautiful. 

Reblogged from alibrariangoestoikea

Classic Chinese Ancient Buildings 
Cutaways Li Ganlang [via]

"Li Ganlang 2005 onwards started drawing, anatomical drawings to show the Chinese construction Shi Jingdian construction law, showing Chinese cultural characteristics of various buildings, covered wood constitutive temples, pavilions, towers, gates, caves, bridges, houses and so on five Shiyu Zuo building. By Yuan-Liou Publishing Company."

Reblogged from mintesque