Scena Rustica or Scena Satirica
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.
12110901 IQ01 2402i13
12110902 IQ02 2175i09 2392i102
12110903 IQ03 2309i02 2392i103
12110904 IQ04 2092i06 2392i104
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.
15110901 Herzog & de Meuron MKM Museum Küppersmühle Extension Duisburg
16110901 German Pavilion plan plan elevation section images attached 2152i02
16110902 Analusian Houses walls opaque 2451i05
17110901 ICMS07 plans 4400x2200 2110i124
17110902 ICMS08 plans 4400x2200 2110i125
18110901 Ecosistema Urbano Banyan Hub West Palm Beach
19110901 iq20 Philadelphia/Camden model work 2093i109
21110901 Museum of Architecture Venice model work 2245i28