"For even in the most favorable hypothesis, the biographers of the Historia Augusta are separated from the Antonines, their great models, by an instance of some hundred and twenty-five years. Of course this is not the first time an ancient historian found himself so far, or even much further, from the figures he was seeking to portray. But the ancient world in the time of Plutarch, say, was still homogeneous enough for the Greek biographer to produce, at nearly a hundred and fifty years' distance, an image of Caesar carved in virtually the same substance as Caesar. At the period when the Historia Augusta was compiled, on the contrary, the world was so altered as to render the great Antonines' way of life and of thought virtually impenetrable to biographers already on the road leading to the Byzantine Empire. A little closer in time, but more exotic, more rapidly distorted by popular superstition, the rulers of the Syrian dynasty vanish even more utterly beneath a forest of legends. Thereafter, chances of error due to remoteness in time gradually diminish with the emperors who devour one another during the rest of the third century, but models and painters alike sink into that magma of confusion, violence, and mendacity characteristic of all periods of crisis. From one end of the Historia Augusta to the other, everything sounds as if a small group of today's men of letters, more or less well informed but mediocre, and often no more than ordinarily conscientious, were to tell us first the history of Napoleon or of Louis XVIII by means of authentic documents seasoned with prefabricated anecdotes, anachronistically tinged by the passions of our own day and age, and then, shifting to figures and events of more recent vintage, were to offer about Jaurès, Hitler, Pétain, or De Gaulle a mass of worthless gossip mingled with some useful informations, an avalanche of literature from Propaganda Bureaus and sensational revelations from the gossip columns."
Marguerite Yourcenar, "Faces of History in the Historia Augusta."
This passage seems useful in terms of thinking about a novel whose scenes and complications occur within the realm of labyrinthine architectural history, or is it within the realm of architecturally labyrinthine history?
Frank Gehry unveils plans for his first buildings in England
In general, however, you're right that I hardly, if ever, focus on politico-socio-economical matters as they pertain to current built architectural manifestations and/or the practice(s) that generate these manifestations. In (very) base terms though, for me it's more a matter of my being ignorant of the subject rather than out right ignoring the subject.
Regarding "intellectual anesthetization", allow me a kind of anecdotal response. The architecture of Zaha Hadid Architects is not particularly my taste, yet I nonetheless find myself appreciating the quality of the design ability and it's overall unprecedented contribution to the 'history' of architecture. This appreciation, however, is only for some of ZHA's work and only for designs that are actually built--it's like I'm still kind of amazed that their architecture is indeed buildable (and that's where the 'thrill' for me comes from). Virtually none of this appreciation, as you already realize, comes from a consideration of all the positive and negative machinations that gets buildings built these days, so, in all fairness and kindness, sometimes just help me out.