98051101 ICM plans 2110i29
1. Alberti and types 2. virtual reconstructions
Regarding ideals and type, the reality is that architects, when asked to design a specific "type" of building 1. look at the program and site provided, 2. look to their previous work experience within that "type" for further inspiration (that is, if they have previous experience in that "type"), 3. look to the (recent) work of other architects relating to the "type" in question. Because of this situation, there is no real ideal type, but more a constant manipulation and transformation of the mental "ideal". I know I'm over-simplifying, but my point is that there never was nor will there ever be a built "ideal" of any specific building "type". Types, at best, are a form of common understanding, and ideals probably have more to do with buildings working well and being on budget given their particular set of circumstances. Moreover, experience has already shown that the closer we get to building "ideal types", the worse the resultant buildings are, e.g., public housing!
As to virtual reconstructions, Larsons reconstructions of some of Kahn's unbuilt designs are what I would refer to as the "accepted logical extreme" of computer aided reconstructions in that they present a photo-realistic end result. I realize that there is still a question as to whether Larson's reconstructions represent Kahn's "actual" intentions. Again, the "reality" of this situation here smacks against what one may think the "ideal" situation should be. Kahn is dead; we can't change that. His drawings, however survive, and yes, I agree with Larson in that the surviving drawings are very much like unplayed musical scores, and to that end CAD software and hardware have become enabling "instruments" whereby the "unplayed scores" can now be "performed". The true potential of CAD reconstructions, however, is that one can "play" the "score" in a virtually infinite variety of "interpretations". Personally, I think this opportunity to "play" with no real risk involved is significant precisely because it establishes a "new ideal" whereby multiple possibilities rather than a single possibility is the overriding paradigm. It is exactly this freedom to "perform" as one chooses, however, that goes against established design training, and, therefore, the "free" use of "reconstructions" has a very "real" up-hill battle to fight if it is to reach its true potential.
020511a Wall House 2 elevations 2219i03
040511a ICM Gymnasium Neronianum plans
Re: ducked around ?
...you say "I would say history is already written , no way to reenact it," but written history is itself a reenactment in that those that write history either 'recollect' events that they themselves already experienced or it is written by people that never even experienced the events they write about.
The whole premise of Collingwood's The Idea of History is that for historians to more accurately write history they have (at least mentally) reenact the past events.
Also, the galaxies, etc. that we see in the night sky are all very much a view of the past (as in light years ago), and, strictly speaking, not at all the future.
11 May 330
Byzantium is renamed Nova Roma during a dedication ceremony, but is more popularly referred to as Constantinople.
11051101 Danteum plans model
10 Buildings that Changed America
"When [Bishop] Athanasius sought to overcome resistance from monastic establishments, he chose a more effective strategy than accusing their most respected leaders of demonic possession. Instead he effectively co-opted the most famous of them--Anthony--by writing an admiring biography picturing Anthony as his own greatest supporter. Since Anthony had died, Athanasius had a somewhat free hand, and his biography turned Anthony into a model monk--a model, that is, of what the bishop wanted monks to be. For in his famous Life of Anthony, the sophisticated and fiercely independent teacher known from his letters disappears, and Athanasius replaces him with his own vision of an ideal monk--an illiterate and simple man. So while Anthony's letters show him to be educated in philosophy and theology, Athanasius pictures him as someone who despises educated teachers as arrogant men who are ignorant of God. And although in his letters Anthony never mentions bishops, clergy, or church rules, Athanasius pictures him instead as a humble monk who willingly subordinates himself to the clergy and "the canon of the church." Athanasius also depicts Anthony as one who hates Christian dissidents as much as he did--and who, like the bishop himself, calls them not only heretics but "forerunners of Antichrist." Far from acting as an independent spiritual mentor, Athanasius' Anthony pleads with the bishop to not allow anyone to revere him, especially after his death. As the biography ends, Athanasius pictures Anthony bequeathing all that he has--his sheepskin cloak and his outer garment--to Athanasius and the bishop's trusted ally, Bishop Serapion of Thumis, to show that Anthony regarded them as his spiritual heirs and trusted them to guard his memory."
Elaine Pagels, Revelations: Visions, Prophecy, & Politics in the Book of Revelation (2012).
Thus I'd now like to (step back) and address what might just be your real intent, that being to elevate the value of architecture within general culture. My advise to you (specifically as a writer) is to fictionalize this world where you see architectural value elevated. It could be short stories, a novel, or even a series of novels. The point being to create something that "the public" can relate to, consume, and hopefully even be inspired by--essentially putting ideas into people's mind via fiction. Also, forcing yourself to really imagine this world and how it manifests itself might just also deliver solutions to what you see as today's real problems.
Stephen Lauf, in "CONTOURS: The Divisions that Bind Us" (2012.01.19).
13051101 Library 1 models