“‘The Museum of Disappearing Buildings’ features a pendulum wrecking ball looming in the upper third of its composition, threatening to destroy any unoccupied dwelling shelved on this enormous archive. All in the name of progress…”
Nicholas Olsberg writes: ‘A small sketch study in pencil, ink and wash, dating from the elder Vaudoyer’s time at the French Academy in Rome, for his ‘maison d’un cosmopolite’: a vision of a domestic temple to universal knowledge that began to circulate widely in print and drawn form from 1785 and was ingrained in the architectural discourse for much of the early 19th century. Vaudoyer’s was the best known and perhaps earliest of many late Enlightenment speculations on spherical dwellings and memorials that might capture an entire cosmos of natural science. Vaudoyer lays astronomical and astrological features on its outer surfaces, and organizes the interior spaces to capture not just the range of human knowledge, but the varieties of mood, sense and feeling that mark our universal condition. It is eerily prescient of today’s cosmopolitan and digital era in which we have access in the single space around us to that vast range of knowledge and ideas of which Vaudoyer was ‘dreaming’ and to the endless possibility of engaging our emotions with them.’
Plan for Beverly Hills, CA, c. 1930
Cartography of exclusion, mapping of repression, parcelization of racism.
‘The mathematicization of architectural projects (in which this work does not pretend to any degree of finality) must be based on a mass of scientific research into such factors as the psycho-physical effect on the human organism of light, heat-energy, the quality of air, of color, space and form, amongst many other factors.The successes of the last decade in mathematical statistics and analysis must herald their even further development in the future, and all such progress will greatly assist the solution to our architectural tasks.’