Introduction

This paper aims to explore more the concept of nostalgia and the association of it with architectural ruins. Based on an in-depth study of Svetlana Boym’s nostalgic framework, it hopes to deduce a theoretical proposal that categorizes ruin intervention strategies. Consolidated by other supporting theories from scholars, such as Pierre Nora, a case study of the reconstruction of Alte Pinekothek in Munich will be discussed. Images of other referencing examples are attached with detailed explanations in the end of the paper.

 

 

Architecture and memory

The relationship between memory and architecture is founded on their commons in utilizing man's perception of and empathy with imagery or sensations to recall and to map out meanings[1] (Figure 1). For memory, building signifies a point of anchor or an image in the continuum of time- a “genius loci” or an “existential foothold”[2]- of which locus of experiences can be recalled. For architecture, memory is the bank of information that design and experiences are based on. It subconsciously drives architectural design decisions, of such as how order and form could be expressed; and allows comprehension and rapport to arise during building utilization or visits.

 

The evolution of nostalgic sentiment

 

In history, the term nostalgia was considered as negative and unencouraging. “Nostalgia is to memory as kitsch is to art,” declares Charles Maier[3]. “Nostalgia is essentially history without guilt… that suffuses us with pride rather than shame,” says Michael Kammen[4]. The earliest use of the term in the seventeenth century referred to a kind of sickness occurring to people who have travelled far from home.[5] Sufferers include fighting soldiers, foreign domestic helpers and even students studying abroad.

 

As modernity arises, the concept of nostalgia and ruin arises hand-in-hand. Globalization redefines home to no longer one place. Industrialization from mid-eighteenth century accelerates the chronicles of events and brings our demand of speed and efficiency to an unprecedented level. Nostalgia is associated with not only the dislocation of space, but also with the disruption of one’s apprehension of time[6]. As Sigfried Giedion deduced, the notion of time has taken over the notion of space. Especially in denser cities, this divergence is causing a contradicting perception of the truth that spacetime is a continuum.[7]

 

These fundamental transformations in social and economic environments intensify the sense of loss and displacement, but also create a utopian dimension of hope. Nostalgic bodies laminate for loss of the collective past rhythms and values, while they also long spiritually and physically for a universal home and a prospective future. Its condition associates with the contrast between the ‘unsatisfying now’ and the carefree home, coming as a form of combined fantasy and romance with oneself memory.[8]

 

Ruin and ruination

 

In ruins, the rapport between form and nostalgic memories is particularly strong because of their appropriation to make the mentioned connection in and of space and time. As natural resultants of decay and weathering, they offer the sense of ‘aura’[9], an authoritative presence of what Walter Benjamin regards as a necessity to the authenticity of art. The ruination of natural materials- stone, brick or wood- “allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter”.[10] They reveal the stories of age, the tactility of ancient use and the continuum of time[11]. Spectaculars are attracted to visit ruins and dwell with contemplation.

 

 

Nostalgia and Ruin intervention

 

The resonance of transience

The resonance between ruins and our own nature creates a dimension for the sentiment of nostalgia. The incompleteness in ruins reminds us enigmatically our own sense of transience-a seldom acknowledged yet known truth embodied since our existence. Their decay conditions induce an exchange between the projections of our own precepts and the structure’s aura. Just as how Hilter and Albert Speer admired Roman ruins as the representation of the continuing ideology of totality[12], the fragmented qualities of ruined structure allegorically embed and aesthetically exhibit [13] a vanished promise of our own age, as well as a promise of an alternative future [14]. Our deep attitude and anxieties are pronounced to conscious through the reflection of such physicality. [15]

 

To complete the incomplete

That is why one of the strong motivation of ruin intervention is people’s nostalgic sentiment. The rising interest in ruins and arise of provincial museum, institutionalized preservation foundations and urban monuments during Romanticism is socio-collective phenomenon caused by such nostalgic sentiment (Figure 2). Succeeding the movement of Enlightenment, the rationalism of universal ideals and traditional authority was lifted high in all social-political contexts. The longing of past rhythm and customs reached a national level and nostalgia became commemorated as a collective sentiment. Architectural style became a means for European powers to exhibit their glorious past and cultural openness to the world. (Figure 3)

‘To complete the incomplete’ is a fight to deny our physical transience and extend our existence through projection onto space and matter. The act of ruin conservation or reconstruction, whether of national scale or individual scale, can be considered as one of the relieving act of a nostalgic body. Marc Antoine Laugier’s stand on abolishing excessive decorations and reviving the ideals of the ‘primitive hut’, is one of the examples that follow the same logic (Figure 4).[16] It is a hope that the desire for ‘the lost home’ during Edenic time could be fulfilled through making and reconstruction.

 

Intervention Strategies

 

Boym’s Nostalgic Framework

In the book The Future Of Nostalgia, scholar Svetlana Boym proposed a theoretical framework that categorizes nostalgia into two types of seductive and manipulating mechanisms. While restorative nostalgia “returns and rebuilds one’s homeland with paranoiac determination”, reflective nostalgia “fears return with the same passion…[and] foster a creative self.” She continues to add, “[reflective nostalgia] does not follow a single plot but explores ways of inhabiting many places at once and imagining different time zones. It loves details, not [representative] symbols.” [17]

 

One can recall the Greek origin of the word ‘nostalgia’- nostos, meaning ‘home’, and algia, meaning ‘longing’ to better understand the preposition. While restorative nostalgia focuses on the prefix to reconstruct a transhistorical and absolute lost home, reflective nostalgia stresses on the suffix to ironically just be or even be prospective in the current state of contradiction.

 

If the sentiment nostalgia and ruin intervention is a cause-and-effect, we can deduce two contrasting approaches of interventions under Boym’s framework- restorative intervention and reflective intervention. Due to the differences of their psychological nostalgic mechanisms, the seduced tactics and strategies, ranging from the choice of materials to restoration methods or overall reconstruction strategy, in the two approaches would be contrastingly different.

 

Memory and History

A different perspective of understanding restorative intervention and reflective intervention is by associating them with what Pierre Nora differentiated as history and memory. In his book Les Lieux de Mémoire, Nora defines history as “how modern societies organize a past they are condemned to forget because they are driven by change”; and real memory as “the kind of inviolate social memory that primitive and archaic societies embodied and whose secret died with them”[18]. Restorative intervention thrives on reconstructing history, which is arguably always problematic and deficient. Reflective intervention, on the other hand, thrives on captivating memories and bonding nostalgic bodies to the experience of present. One example that best celebrates the heart of reflective intervention is the Museum of Innocence in Istanbul, Turkey. The museum consists of objects that are all based on the narrative written by Orhan Pamuk; and is intended “not to be strolled around in but to be experienced, and made up of collections expressive of the soul of that “experience”[19]

 

Restorative Intervention and Reflective Intervention

 

Restorative Intervention

The key words of restorative intervention are obviously restoration and preservation. At its core, a certain pessimism is concealed in the paranoiac determination of restorative intervention. As the cognitive perception in this typology is a permanent loss of a glorious or significant era, its rebounding plot is to restore and return to the absolute origin. The restoration of most national and religious buildings, such as palaces and churches, are based on this sentiment.

 

Restorative intervention value highly on the intellectual rationale and cultural significance. The aim of this approach is to mimic and amplify a certain lost timeframe in the continuum of time. Thus, decisions determining factors from material craftsmanship to the overall construction are strictly considered and critically assessed. This approach is particularly obvious in the conservation of urban towns and eventually leads to the establishment of protected areas, preservation groups and assessment institutes. UNESCO heritage cities and buildings, such as the City of Bath in the United Kingdom (Figure 5) and the Palace of Versailles in France (Figure 6), are examples of this approach. Architectural guidelines, ordnance and even laws are set up in the name to preserve the overall unity of building individuals or clusters. It is also from this approach that the concept of heritage emerges.

 

 

Reflective Intervention

 

In contrast to restorative intervention, reflective interventions, is more about individual and cultural memory. It celebrates the fragments of memory and allows traces of the past to co-exist with modernity. Like Resier + Umemoto’s attitude in their book Atlas of Novel Tectonics, “a building erected to address one problem will, most likely, find itself asked to accommodate others after its completion.”[20]. Reflective intervention regards history as a mere consciousness, and pushes itself towards the novelty through dropping the baggage of the past and working dynamically with inherent constraints or intrinsic physical existing properties.

 

The common strategy of reflective interventions includes minimal interference and adaptive reuse of existing structures. Examples include Hedmark Museum by Sverre Fehn in Norway[21] (Figure 7) and The Kolumba by Peter Zumthor in Germany (Figure 8). These designs do not aim to rebuild the ruins back to a specific suspension of timeframe. Instead, the old and new additions are incorporated to form a hybrid that reflects the progression of time. Consequentially, tectonic and details, but not necessarily symbolic representations, are normally carefully tackled in reflective intervention. It looks for a prospective reality and a new vision that "enamored of distance, [but] not of the referent itself."[22]

 

 

Restoration and reflective nostalgia in a spectrum

The two nostalgic sentiments contribute to contrasting perspective in understanding ruined structures and thus different interventive expressions to serve completely different intents. Instead of understanding the two types of intervention as binaries, they can be better understood as extremes having overlapping references in a spectrum. They can employ the same triggering memory and symbols, but their plots, narratives, and thus tactics of intervention, do not agree.[23]

 

Case Study of Alte Pinakothek

 

 

The Alte Pinekothek in Munich is an accurate example that situates between the two typologies. To avoid its sensitive history, the post-war urban-planning strategy of Munich is to completely restore its parts to a pre-Nazi period. Yet, the ruin of Alte Pinakothek, was and has been till now, the city’s controversial reconstruction project.

 

Being a paradoxical symbol of both the city’s artistic reputation and the beginning of Nazi propaganda, it has attracted arguments of the three dominating groups of protagonists at that time- the Traditionalists, who longed for the return to the pre-Hitlerian age, the Modernist, who urged for a complete change; and the Preservationists, who advocated the marriage of Narzism and war memories.[24] The restoration of Alte Pinekothek was facing different desires of nostalgic fulfillments at the time. Nostalgia and ruin restoration became exposed not only to a personal level, but towards a collective and politically sensitive paradigm.

​

The solution of architect Hans Döllgast cleverly mediates between the pulling extremes of restorative intervention and reflective intervention. From afar, the overall composition seems to be restorative. The proportion, appearance and rhythm of the new share the same language to that of the old. Yet, Döllgast abolished the replication of neoclassical decorations, and stripped the entire new additions to a minimal representation (Figure 9). The used bricks were reclaimed from war rubbles and were collected by the post-war widows. The juxtaposition of materials gives continuity to the piece. Internally, a new monumental staircase was inserted into the former gallery, giving orientation and exhibiting to the knitting of old and new fabric. His approach is reflective in the way that he chose to insert new meaningful memory whilst keeping the evidence of the traumatic past; but also, restorative in the way that he chose to retain the neoclassical unity of the origin.[25]

 

Comparison

Comparing the two approaches of intervention, though the plot of restorative nostalgia is to rebuild an absolute truth of the past, it can never achieve its aim to bring back time. Overpowered by the subservience to create a utopian past, restorative intervention without sufficient understanding and intellectual supervision easily falls into the trap of abusing technological reproducibility. It can create an inverse effect than actual preservation, falling into the conspiracy of constructing a selfish authoritative ‘truth’ that betrays its true memory. Quoting John Ruskin, “restoration means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered: a destruction accompanied with false description of the thing destroyed”.[26] This motto of such extreme nostalgic sentiment is no longer about revisiting the past, but employing the past as a political symbol to establish power and authority. It rips the work of art off from its original authenticity and unconsciously “divest the lived past of its legitimacy”.[27] As Janet Null criticizes, such restoration does not only “devalue the original but also damages the ruin itself as a historical document” [28]. (Figure 10)

 

In contrast, reflective intervention can be considered more truthful by allowing traces of ruination to progress with modernity. However, the approach is often controversial and suspicious in the eye of the public. A recent example is the ninth-century Castillo de Matrera Fortress in Cádiz, Spain. (Figure 11)

​

 

Conclusion

 

“Ruin does not speak, we speak for them”[29]. The connection between nostalgia and ruin is apparent, but what actually is ‘ruin’? How old and damaged does a structure have to be, to be competently considered as ‘ruin’?

In 1916 Albert Einstein published the general theory of relativity. The proposal of time-space, interwoven as one notion, is difficult to be fathomed yet scientifically still standing affirmed after a century. We often think that architecture is a medium for the embodiment of memorial events. Yet, we seldom conversely realized that our ability to fathom space actually relies on past experiences accumulated through the passage of time. Through architectural composition, the spatial experience of the present moment could recall nostalgic fragments of the past; while present sensory qualities could not be provoked by space without layering and reuniting with old memories.

The sentiment of nostalgia drives intervention of ruined form, but in a broader sense, is it also more-or-less hidden in our everyday design of architecture? Is the real ruin only of its physicality? Or Is it, more precisely, the hidden transience reflected from our own hearts?

 

 

 

IMAGES

 

 

Figure 1           Problems of Boston, Kelvin Lynch, 1960.

Kevin Lynch, The Image Of The City, 1st ed. (Cambridge, MA: M.I.T. Press, 1960).

The aim of the Lynch’s project is to find out potential problems in the city through mapping out the collective public image of Brookline based on interviewee’s everyday memories.

 

 

Figure 2a        Ruins of the Place of Diocletian, Robert Adam, 1764 (left)

University of Wisconsin, Digital Library for the Decorative Arts and Material Culture. Ruins Of The Palace Of The Emperor Diocletian At Spalatro In Dalmatia, Adam, Robert, 1728-1792. Image, 1764. http://digital.library.wisc.edu/1711.dl/DLDecArts.AdamRuins.

Figure 2b         Hadrian's Villa: The Piazza d'Oro, Giovanni Battista Piranesi, 1776 (right)

Piranesi, Giovanni Battista. Hadrian's Villa: The Piazza D'oro. Etching. New York: The Metropolitan Museum of Art, 1776.

During the era of Neoclassism and Romantism, ruins were heavily studied because the mystic fantasy they concealed. They were often drawn out in imagined and romantic landscapes by architects or artist such as Robert Adam and Giovanni Battista Piranesi.

 

 

 

Figure 3a        Undated print of Henry Holland's Brighton Marine Pavilion (1786-87) before renovation (left)

Khan Academy. Undated Print Of Henry Holland's Brighton Marine Pavilion Of 1786-87. Image. Accessed 15 May 2017. https://www.khanacademy.org/humanities/becoming-modern/romanticism/england-constable-turner/a/john-nash-royal-pavilion-brighton.

Figure 3b         East Elevation of the Royal Pavilion, Brighton, UK 1815-23 (right)

Royal Pavilion & Museums, Brighton & Hove. The Royal Pavilion. Image. Accessed 15 May 2017. http://brightonmuseums.org.uk/royalpavilion/.

The neo-classical facade (the windows and bays), was retained with the addition of anonion-shaped Mughul dome and minarets- Islamic typical architectural feature of the Indian sub-continent- reflecting the pride of Colonial Empire of Great Britain.

 

 

 

Figure 4a        The Primitive Hut by Marc-Anointe Laugier in Essai sur l'Architecture (left)

Laugier, Marc Antoine. Essai Sur L'architecture. 1st ed. Bruxelles: Mardaga, 1979.

Figure 4b        The East elevation of the Louvre (right)

The Louvre in Paris: elevation of the principal facade facing Saint-Germain l’Auxerrois from Jacques-François Blondel, Architecture françoise, Tome 4, Livre 6, 1756

 For Laugier, the ‘primitive hut’ is used to denote the composition of the architectural Order. The trunks set upright denote the idea of column; the pieces placed horizontally gives the idea of entablature; and the inclining pieces that formed the roof gives the idea of pediment. The mentioned parts are the fundamental elements of architecture and the cause of beauty. Any additional parts added by caprice would just cause imperfectness.[30] The Louvre is considered to be one of the examples that fulfill the elements of architecture proposed by Laugier

 

Figure 5a         The City of Bath in United Kingdom. (left)

Chapple, Amos. City Of Bath. Image, 2017. http://whc.unesco.org/en/documents/126791.

Figure 5b         The Roman Baths and The Medieval Bath Abbey (right)

Chapple, Amos. City Of Bath. Image, 2017. http://whc.unesco.org/en/documents/126791.

In order to preserve the homogeneity of the UNESCO city, materials that could be used for external façade in Bath are confined to two types limestone- both having a similar color tone. Height of buildings are capped below 6 storey to maintain the Georgian town-planning landscape. Buildings in the historical town centre are carefully maintained as their dated period under the Bath Preservation Trust.

 

Figure 6a         The King's Apartment, Palace of Versailles (left)

Gelbart, Jean-Jacques. Palace And Park Of Versailles (France). Image. Accessed 15 May 2017. http://whc.unesco.org/en/documents/108349.

Figure 6b         Escalier Gabriel (Gabriel stairs) in the Palace of Versailles in Versailles (right)

Allorge, Lionel. Escalier Gabriel (Gabriel Stairs) In The Palace Of Versailles In Versailles, France. Image. Accessed 15 May 2017. http://whc.unesco.org/en/documents/108350.

The complete restoration of Palace of Versailles spent nearly seven years. The overall façade and more than 50 rooms was restored according to the former splendor and arrangments. In addition, the unbuilt ceremonial staircase designed by Gabriel in 1722 was completed according to the original design.

 Figure 7a         Exterior detail of Hedmark Museum, Norway (top left)

Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7b         Interior of Hedmark Museum, Norway (top middle)

Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7c         External window detail of Hedmark Museum, Norway (top right)

Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7d         Section of Hedmark Museum, Norway (bottom)

Fjeld, Per Olaf. "The Workings Of Sverre Fehn". Progressive Architecture 75, no. 2 (1994): 50.

The 18th-19th century barn was built using the ruined walls of a 12th century bishop's fortress. Adapting it as a museum in 1979, Sverre Fehn intended to establish a thoughtful relationship between the old and new. Modern additions are respectfully inserted into the historical remains, allowing further archeological excavations and previous memories to breathe for themselves within the new envelope.[31]

 

 Figure 8a            Building site after war (left)

Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Figure 8b         Exterior view of The Kolumba, Cologne (middle)

Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Figure 8c         The Museum hovering over the existing Roman excavated site (left)

Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Cologne is one of the heavily damaged city during World War II. The museum was built on the remains of a Roman catholic church. The facade of grey brick was integrated with the ruin to create a new image for the contemporary museum. The intention of the architect is to create a “living museum”, allowing visitors to immerse themselves with their own memories and offering them to experience the museum in their ways.

  

Figure 9a         Zoomed-in detail drawing of the south elevation (top left)

ETH Zurich. Leo Von Klenze/Hans Doellgast Alte Pinakothek. Image, 2012. http://caruso.arch.ethz.ch/archive/references/project/112.

Figure 9b         Zoomed-in photo of the south elevation (top right)

ETH Zurich. Leo Von Klenze/Hans Doellgast Alte Pinakothek. Image, 2012. http://caruso.arch.ethz.ch/archive/references/project/115.

Figure 9c         Drawing of overall south elevation (bottom)

                        Original Drawing

The proportion, appearance and rhythm of the new addition share the same language to that of the old. Yet, the architect abolished the replication of neoclassical detail decorations, and stripped the contemporary additions to a minimal representation. The used brick was reclaimed from the rubbles and was collected by the post-war widows.

 

 

 

 

 

 

Figure 10a       The Forbidden City in Beijing (left)

故宫博物院. 紫禁城和卢浮宫，亚洲和欧洲两座最著名的宫殿博物馆，当我们将其相比照时，二者都更异彩绚烂。. Image. Accessed 13 May 2017. http://www.dpm.org.cn/shtml/62/@/110345.html.

Figure 10b       Zhongxian Huangjinzhen People’s Government Office (right)

新華網. 重庆市忠县黄金镇政府修建的像宫殿一样的办公楼. Image, 2004. http://news.xinhuanet.com/lianzheng/2007-03/19/content_5864338.htm.

Zhongxian Huangjinzhen People’s Government Office was constructed as a replica of The Forbidden city. Extreme restorative nostalgia falls into the conspiracy of constructing a selfish authoritative and universal truth. Their moto is no longer about revisiting the past, but employing the past as a symbol to establish power and authority.

 

  

Figure 11a       Castillo de Matrera Fortress in Cádiz before restoration (left)

Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

Figure 11b       Castillo de Matrera Fortress in Cádiz after restoration (middle)

Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

Figure 11c       West elevation of the restoration of Castillo de Matrera Fortress (right)

Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

The intervention of the 9th century fortress attracted broad international debates about heritage restoration. Some criticizes the approach as a heritage massacre, but the reconstruction has also turned that site into a new popular tourist attraction within the area.

 

 

 

List of Image References

Figure 1          Kevin Lynch, The Image Of The City, 1st ed. (Cambridge, MA: M.I.T. Press, 1960).

Figure 2a        University of Wisconsin, Digital Library for the Decorative Arts and Material Culture. Ruins Of The Palace Of The Emperor Diocletian At Spalatro In Dalmatia, Adam, Robert, 1728-1792. Image, 1764. http://digital.library.wisc.edu/1711.dl/DLDecArts.AdamRuins.

Figure 2b        Piranesi, Giovanni Battista. Hadrian's Villa: The Piazza D'oro. Etching. New York: The Metropolitan Museum of Art, 1776.

Figure 3a        Khan Academy. Undated Print Of Henry Holland's Brighton Marine Pavilion Of 1786-87. Image. Accessed 15 May 2017. https://www.khanacademy.org/humanities/becoming-modern/romanticism/england-constable-turner/a/john-nash-royal-pavilion-brighton.

Figure 3b       Royal Pavilion & Museums, Brighton & Hove. The Royal Pavilion. Image. Accessed 15 May 2017. http://brightonmuseums.org.uk/royalpavilion/.

Figure 4a        Laugier, Marc Antoine. Essai Sur L'architecture. 1st ed. Bruxelles: Mardaga, 1979.

Figure 4b        The Louvre in Paris: elevation of the principal facade facing Saint-Germain l’Auxerrois from Jacques-François Blondel, Architecture françoise, Tome 4, Livre 6, 1756

Figure 5a        Chapple, Amos. City Of Bath. Image, 2017. http://whc.unesco.org/en/documents/126791.

Figure 5b        Chapple, Amos. City Of Bath. Image, 2017. http://whc.unesco.org/en/documents/126791.

Figure 6a        Gelbart, Jean-Jacques. Palace And Park Of Versailles (France). Image. Accessed 15 May 2017. http://whc.unesco.org/en/documents/108349.

Figure 6b        Allorge, Lionel. Escalier Gabriel (Gabriel Stairs) In The Palace Of Versailles In Versailles, France. Image. Accessed 15 May 2017. http://whc.unesco.org/en/documents/108350.

Figure 7a        Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7b        Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7c        Fehn, Sverre, Nicola Flora, and Christian Norberg-Schulz. Sverre Fehn. 1st ed. Napoli: Fratelli Fiorentini, 1993.

Figure 7d        Fjeld, Per Olaf. "The Workings Of Sverre Fehn". Progressive Architecture 75, no. 2 (1994): 50.

Figure 8a        Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Figure 8b        Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Figure 8c        Binet, Hélène. Kolumba – Kunstmuseum Des Erzbistums Köln (1997–2007). Image, 2007. http://www.kolumba.de/.

Figure 9a        ETH Zurich. Leo Von Klenze/Hans Doellgast Alte Pinakothek. Image, 2012. http://caruso.arch.ethz.ch/archive/references/project/112.

Figure 9b        ETH Zurich. Leo Von Klenze/Hans Doellgast Alte Pinakothek. Image, 2012. http://caruso.arch.ethz.ch/archive/references/project/115.

Figure 9c        Original Drawing

Figure 10a 故宫博物院. 紫禁城和卢浮宫，亚洲和欧洲两座最著名的宫殿博物馆，当我们将其相比照时，二者都更异彩绚烂。. Image. Accessed 13 May 2017. http://www.dpm.org.cn/shtml/62/@/110345.html.

Figure 10b      新華網. 重庆市忠县黄金镇政府修建的像宫殿一样的办公楼. Image, 2004. http://news.xinhuanet.com/lianzheng/2007-03/19/content_5864338.htm.

Figure 11a      Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

Figure 11b      Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

Figure 11c      Carquero Arquitectura. Castillo De Matrera Fortress. Image, 2017. http://carquero.com/.

 

 

 

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Norberg-Schulz, Christian. Genius Loci -Towards A Phenomenology Of Architecture. 1st ed. New York: Rizzoli, 1996.

Null, Janet A. "Restorers, Villains, And Vandals". Bulletin Of The Association For Preservation Technology 17, no. 34 (1985): 26. doi:10.2307/1494097.

Pallasmaa, Juhani. The Eyes Of The Skin. 1st ed. Chichester: Wiley, 2005.

Pamuk, Orhan, and Ekin Oklap. The Innocence Of Objects. 1st ed. New York: Abrams, 2012.

Reiser, Jesse, and Nanako Umemoto. Atlas Of Novel Tectonics. 1st ed. New York, NY: Princeton Architectural Press, 2012.

Rosenfeld, Gavriel David D. Munich And Memory: Architecture, Monuments, And The Legacy Of The Third Reich. 2nd ed. Berkeley: University of California Press, 2000.

Ruskin, John, Edward Tyas Cook, and Alexander D. O Wedderburn. The Works Of John Ruskin. 1st ed. Cambridge: Cambridge University Press, 2009.

Theodossopoulos, Dimitris. Structural Design In Building Conservation. 1st ed. Abingdon, Oxon ; New York, NY: Routledge, 2012.

Trigg, Dylan. The Aesthetics Of Decay: Nothingness, Nostalgia, And The Absence Of Reason. New York: Lang, Peter Publishing, 2006.

Woodward, Christopher. In Ruins: A Journey Through History, Art, And Literature. New York: Vintage Books, 2003.

 

[1]   Kevin Lynch, The Image Of The City, 1st ed. (Cambridge, MA: M.I.T. Press, 1960).

[2]   Christian Norberg-Schulz, Genius Loci -Towards A Phenomenology Of Architecture, 1st ed. (New York: Rizzoli, 1996).

[3]   Charles S. Maier, "The End Of Longing? Notes Toward A History Of Postwar German National Longing", in The Postwar Transformation Of Germany: Democracy, Prosperity, And Nationhood,” Ed., 1st ed. (University of Michigan Press: Ann Arbor, 1999), 273.

[4]   Michael Kammen, Mystic Chords Of Memory, 1st ed. (New York: Vintage Books, 2013).

[5]    Fred Davis, "Nostalgia, Identity And The Current Nostalgia Wave", The Journal Of Popular Culture 11, no. 2 (1977): 414-424.

[6]   Svetlana Boym, "Nostalgia And Its Discontents", Hedgehog Review 2, no. 9 (2007): 7.

[7]   Extracted from bachelor work: Cynthia Sin Tone Leung, "Why Matter Matters? Exploring The Idea Of Presence In E=Mc2." (Undergraduate, The University of Bath, 2015).

[8]   Svetlana Boym, The Future Of Nostalgia (New York: Basic Books, 2002).

[9]   Walter Benjamin, The Work Of Art In The Age Of Its Technological Reproducibility, And Other Writings On Media, 1st ed. (Cambridge, Mass.: Belknap Press of Harvard University Press, 2008).

[10] Juhani Pallasmaa, The Eyes Of The Skin, 1st ed. (Chichester: Wiley, 2005).

[11] Adam Jones, "How Have The Attitudes Towards Ruins, Developed From Romanticism To The Present Day, Affected Ruin Treatment In Contemporary German Architecture?" (Fifth Year Academic Dissertation, Manchester School of Architecture, 2014).

[12] Details of explanation could be found in the Theorie vom Ruinwert

[13] Christopher Woodward, In Ruins: A Journey Through History, Art, And Literature (New York: Vintage Books, 2003), 212.

[14] Andreas Huyssen, "Nostalgia For Ruins", Grey Room 23 (2006): 6-21.

[15] Pallasmaa, The Eyes Of The Skin, 1st ed.

[16] Marc Antoine Laugier, Essai Sur L'architecture, 1st ed. (Bruxelles: Mardaga, 1979).

[17] Boym, The Future Of Nostalgia , 14.

[18] Pierre Nora, Realms Of Memory, 1st ed. (New York: Columbia University Press, 1996).

[19] Orhan Pamuk and Ekin Oklap, The Innocence Of Objects, 1st ed. (New York: Abrams, 2012).

[20]   Jesse Reiser and Nanako Umemoto, Atlas Of Novel Tectonics, 1st ed. (New York, NY: Princeton Architectural Press, 2012).

[21]    Per Olaf Fjeld, "The Workings Of Sverre Fehn", Progressive Architecture 75, no. 2 (1994): 50.

[22]    Boym, The Future Of Nostalgia , 50.

[23]    Boym, The Future Of Nostalgia , 62.

[24]    Jones, "How Have The Attitudes Towards Ruins, Developed From Romanticism To The Present Day, Affected Ruin Treatment In Contemporary German Architecture?", 15.

[25] Dimitris Theodossopoulos, Structural Design In Building Conservation, 1st ed. (Abingdon, Oxon ; New York, NY: Routledge, 2012).

[26]   John Ruskin, Edward Tyas Cook and Alexander D. O Wedderburn, The Works Of John Ruskin, 1st ed. (Cambridge: Cambridge University Press, 2009).

[27]   Nora, Realms Of Memory,.

[28]    Janet A. Null, "Restorers, Villains, And Vandals", Bulletin Of The Association For Preservation Technology 17, no. 34 (1985): 26, doi:10.2307/1494097.

[29] Woodward, In Ruins: A Journey Through History, Art, and Literature, 86.

[30] [30] Marc Antoine Laugier, Essai Sur L'architecture, 1st ed. (Bruxelles: Mardaga, 1979).

[31]   Fjeld, Per Olaf. 1994. "The Workings Of Sverre Fehn". Progressive Architecture 75 (2): 50.