Architecture rests on intellectual as well as material foundations. _cr
s u r f a c e _7..A R C H I T E C T | (D) A N T E | T E L E S C O P E _H O U S E

Io non so ben ridir com'i' v'entrai _Dante, The Divine Comedy..I do not know how I entered...I do not know well how to recount how I entered there...
"First Light" garden door etched glass panel | interior mural "observatoryCHESS" | nightLINES | 1:4:9 DanteMONOLITH and North-Star Telescope: MERIDIAN TRANSIT 
Towards a Move|Meaning Architecture: architecture as astronomical and metaphysical observatory; as book or text and the drawing of the world; as a device of orientation, intellectual and physical, signified by reference to (D)ante and orientational groundlines and meridian "telescope," which aligns with the North Star; here, fundamental propositions of architecture -- wall and ground -- function as surfaces of memory; wall as canvas and collage, painting and page, astronomical codex and mnemonic device -- the Significant Surface, simultaneously visual and intellectual, inviting remembrance of ineffable connections. [For elucidation of these ideas, see my article, written four years before this project, Drawing as Contemplation.]
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Io non so ben ridir com'i' v'intrai..............................

 

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The Danteum, Terragni, 1938

 

 

 

 

39.00.29.8 latitude 77.01.39.22 longitude.............................................................................................

......11435 | architect Alberti writes the first treatise of the Renaissance: On Painting..........................

 

 

 

 

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The Siderial Messenger .Galileo 1610........................

surface_7 ARCHITECT project assistants | fabrications: paul destio/blanton dunn/frank&ray/chris fultz | construction drawings: chris williams/paul destio | presentation drawings: justin heiser/christian bloomquist/francisco tai/sal costanza | models: john grube | contractor: tom gilday| collaborator/owner: david zlowe
Precisely because it is the familiar way, it is not the artistic way. _Victor Shklovsky Art as Device 1917