hyper architecturism

Comica   Tragica   Satirica

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The Satiricall Scenes are to represent Satirs, wherein you must place all those things that bee rude and rusticall . . . for which cause Vitruvius speaking of Scenes, saith, they should be made with Trees, Rootes, Herbs, Hils and Flowres, and with some countrey houses.... And for that in our dayes these things were made in Winter, when there were but fewe greene Trees, Herbs and Flowres to be found; then you must make these things of Silke, which will be more commendable then the naturall things themselves: and as in other Scenes for Comedies or Tragedies, the houses or other artificiall things are painted, so you must make Trees, Hearbs, and other things in these; the more such things cost, the more they are esteemed, for they are things which stately and great persons doe, which are enemies to nigardlinesse. This have I seene in some Scenes made by Ieronimo Genga, for the pleasure and delight of his lord and patron Francisco Maria, Duke of Urbin: wherein I saw so great liberalitie used by the Prince, and so good a conceit in the workman, and so good Art and proportion in things therein represented, as ever I saw in all my life before. Oh good Lord, what magnificence was there to be seene, for the great number of Trees and Fruits, with sundry Herbes and Flowres, all made of fine Silke of divers collours. The water courses being adorned with Frogs, Snailes, Tortuses, Toads, Adders, Snakes, and other beasts: Rootes of Corrale, mother of Pearle, and other shels layd and thrust through betweene the stones, with so many severall and faire things, that if I should declare them all, I should not have time enough. I speake not of Satirs, Nimphes, Mermaids, divers monsters, and other Strange beastes, made so cunningly, that they seemed in shew as if they went and stirred, according to their manner. And if I were not desirous to be brief, I would speake of the costly apparel of some Shepheards made of cloth of gold, and of Silke, cunningly mingled with Imbrothery: I would also speake of some Fishermen, which were no lesse richly apparelled then the others, having Nets and Angling-rods, all gilt: I should speake of some Countrey mayds and Nimphes carelesly apparelled without pride, but I leave all these things to the discretion and consideration of the judicious workmen; which shall make all such things as their pattrons serve them, which they must worke after their owne devises, and never take care what it shall cost.

Sebastian Serlio   Della Scena Satirica   1545

1545 Serlio's Scenes
1867 Encyclopedia of cottage, farm and villa architecture
1977 Eclectic Houses
1981 Strada Novissima

If reenactment as a design prescription is still only a "weak hypothesis," your consideration of the notion so far certainly contributes supplemental vitality and strength. I assume (and hope) you've read my paper for Belgium and my Tafuri critique before writing your reply, because my response here works along those lines.
The evocation of Serlio's 'street scenes' is indeed apt--the notion of stage set is very much part of reenactment, i.e., the place upon which and within which to 'act' again (and again). For the record, Serlio drew three scenes, the third, Scena Rustica or Scena Satirica, is all natural /naturalistic (proto primitive hut? or proto romanticism?).
While reenactment certainly necessitates a contextual understanding, reenactment as a design paradigm is nonetheless not necessarily site specific. For example, theme parks everywhere are for the most part far removed for the 'actual' themes they reenact. On the other hand, the reenactments within Venturi (Rauch) and Scott Brown's Franklin Court (Philadelphia), Western Plaza (Wash. D.C.) and Welcome Park (Philadelphia) relate directly to their respective sites/environments. Reenactment then can (and indeed does) have it both ways in terms of context.
As to the "problem" of "exciting ideas" never getting developed due to being brightly spotlighted and then quickly moved on from, perhaps this 'trendy' behavior too is a form of reenactment, that is, a repetitious renewal, the continual process of putting on a new hat, but always putting on a hat nevertheless.
The best philosophy I've read so far that purports reenactment is within Collingwood's The Idea of History. Collingwood is much influenced by Croce, and Croce is much influenced by Vico. [I have yet to do extensive reading regarding of the philosophy of history, but I have done enough to see that there is a significant strand of it that addresses reenactment as a methodology. I suspect Vico's New Science to be the most important primary source--I have the book, but have only read a small part of it so far.] When I first began to redraw Piranesi's Campo Marzio using CAD, I was doing so to get as close to Piranesi as possible; essentially, I was reenacting his act of drawing as best I could. For me, this exercise, this reenactment, has provided enormous insight, albeit it took several years of continual work for this vision to develop. I am certainly not Piranesi, nor do I contend to possess his superior creative talent and imagination, but I deliberately attempted to do some of the same things he has done, and in so doing I honestly believe I removed several degrees of separation. Perhaps reenactments then are always a play with degrees of separation, sometimes seeing how close one can get to the 'original' and/or sometimes seeing how far one can stretch the 'truth', to name the extreme cases. [play - theater - reenactment]
My historiography of Piranesi's Campo Marzio (and here I include my paper for Belgium with the work so far in the Encyclopedia Ichnographica) aims to present the Ichnographia as a prime exemplar of architectural and urban design as reenactment--Piranesi's plan is not only a large architecturally drawn plan, but also a plan in the sense that it lays out a course of action, or, should I say, a course of reenaction. Taking the lessons of the Ichnographia('s virtuality) and utilizing [reenacting!] them in today's world is the 'real' challenge.




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