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By S. M. Can Bilsel

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Extra info for ARCHITECTURE IN THE MUSEUM: DISPLACEMENT, RECONSTRUCTION AND REPRODUCTION OF THE MONUMENTS OF ANTIQUITY IN BERLIN’S PERGAMON MUSEUM, Volume 1 (Phd Thesis)

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An editorial by Kurt W. Forster and separate commentaries by Ignasi de Solà-Morales and Alan Colquhoun appeared in the same issue. ” Nicholas Stanley Price et al. , Historical and Philosophical Issues in the Conservation of Cultural Heritage (Los Angeles: The Getty Conservation Institute, 1995). ” As for Riegl’s use of the word “Entstehung”: I take as a model the distinction Walter Benjamin makes between “Ursprung” and “Entstehung” in his “Epistemo-Critical Prologue” to Ursprung des deutschen Trauerspiels, translated by John Osborne as “origin” and 9 The fundamental aesthetic principle of our time concerning the age-value may be formulated as follows: we expect from the hand of man the production of complete works as symbols [Sinnbilder] of necessary and lawful becoming [Werden]; from nature that works over time, on the other hand, we expect the dissolution of completeness as symbol of equally necessary and lawful decay [Vergehen].

It owes its existence mainly to extremely successful excavations conducted by the museums of Berlin in Asia Minor, above all in Pergamum (Pergamon), Magnesia, Priene, and Milet. In further archaeological expeditions, the German Oriental Society (Deutsche Orient-Geselschaft DOG) co-operated with the museums of Babylon, Assur, Uruk, and various other Mesopotamian cities. ” The Pergamon Museum, translated by Nina Hausmann (Berlin: Berliner Ansichten, 1998), 9. 4 gradually falling into ruins, the later is ephemeral: it is bound to the time of the spectacle.

The 19th century panorama offered the spectators the scenery of a world-historical event depicted on the vast periphery of a circular interior. In the Sedan panorama in Berlin, for instance, once admitted in the interior, the spectators could “relive,” as it were, the moment when the outcome of the Franco-Prussian war of 1871 was decided. The concept of history as a linear trajectory is made manifest in the 19th century panorama—the heterotopia of a time machine, which transposes the spectators to the heart of a moment of historical destiny.

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ARCHITECTURE IN THE MUSEUM: DISPLACEMENT, RECONSTRUCTION AND REPRODUCTION OF THE MONUMENTS OF ANTIQUITY IN BERLIN’S PERGAMON MUSEUM, Volume 1 (Phd Thesis) by S. M. Can Bilsel


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