9 November

1729 birth of Charles de Wailly
1778 death of Giovanni Baptista Piranesi

1812 birth of Paul Abadie, the Younger

1999.11.09 10:28     2759a 2907 2909a 3749b 4166 4204 4555 4711d 5000 5025 5026 5027 5045 5060 531a

manifesto replay
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27 October 312
2000.11.09     0312

inconsistencies and hyperboles?
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calendrical coincidence
2001.11.09 12:49     2070

ur-archaelogical architecture
2001.11.09 20:12     4223

It rocked Eisenman on his chair...
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Why won't you design what we (the public) want?
2013.11.09 11:11     3749y 3771i

Scena Rustica or Scena Satirica

1999.11.09 10:28
Again thanks for you comments/critique. 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.
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 (Washington 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 nonetheless.
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.
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.

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2013.11.09 11:11
Why won't you design what we (the public) want?
One of the saddest things about this whole thread is the overall passivity of both sides. And one of the greatest ironies is that the 'traditionalists' want change and the 'modernists' want things to stay as they are.
What's lacking from this 'argument' is the role of mediation (starting with the printed image through to the digital) and its effect on what people like/want.



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