The history of the copy is as old as the history of architecture\u00a0itself. While Pliny the Elder considered the origin of painting to be the\u00a0desire to reproduce the outline of a shadow, and Vitruvius did the same\u00a0for sculpture when he described the Corinthian order as life emerging\u00a0from death, the model as copy of the natural highlights the synthesis\u00a0of the two disciplines as the boundary between any creative act and\u00a0mimesis. An appropriate example is Roman architecture conceived as\u00a0an aide-m\u00e9moire of the Greek model, with signs distinguishing between\u00a0originals and replicas recognized only in the details of words and their\u00a0formal variations.
\nIn the endless list of models of imitatio to which architecture\u00a0originally refers, the model as a full-scale replica has responded to\u00a0different interests and contexts over the centuries. Giorgio Vasari gives\u00a0an account of a widespread practice in Florentine workshops in the\u00a0fourteen-hundreds. Then, reproductions of fragments of ruins were\u00a0taken as the manifesto of an anachronistic Renaissance, laying the\u00a0bases for the diffusion and circulation of antiquity and its imaginaries.\u00a0The Baroque extended its use to the world of stage sets and theatre,\u00a0like some of the creations of Gian Lorenzo Bernini. Then, in the 18th\u00a0century, academies added their renewed pedagogical interest in a\u00a0total architecture, in which the copy and displacement of the original\u00a0guaranteed learning, laying the foundations for the successful future\u00a0Beaux-Arts current. Examples include the duplication of the Sainte-Genevi\u00e8ve fa\u00e7ade by Jacques-Germain Soufflot and the numerous\u00a0campaigns carried out in Rome. Later, the technical reproduction\u00a0introduced with the international expositions gave rise to the culture\u00a0of fragment and detail at the first museums of artistic reproductions in\u00a0cities such as London, Madrid, Barcelona and Paris. In the 20th century,\u00a0the architecture avantgarde, pushing back against academia, rejected\u00a0the art of the copy as dogma, heading high-profile instances of both the\u00a0destruction of natural casts and campaigns to discredit those who used\u00a0them. This discredit was, however, opposed by artists such as Marcel\u00a0Duchamp.
\nToday, new initiatives focus attention not only on the legacy\u00a0and future of their collections, but also on the theoretical problem arising\u00a0from the origin of form as memory and the reproduction techniques\u00a0associated with it. Artists and architects such as Rachel Whiteread,\u00a0Asta Gr\u00f6ting and Jorge Otero-Pailos, research projects of the kind\u00a0headed by the V&A at the 15th and 16th Venice Architecture Biennale,\u00a0commemorative exhibitions like the one at the James-Simon-Galerie in\u00a0Berlin, the work of practices such as Peter Zumthor\u2019s and pedagogical\u00a0proposals by the Drawing Matter organization are just some examples\u00a0of how unusually contemporaneous one of the possible models of study,\u00a0replica by contact, has now become. Its scope must be addressed, along\u00a0with many others, in all its complexity.\u00a0The call for submission of articles to RA journal sets out to\u00a0address the issue of architectural models in the terms outlined here. The\u00a0aim is not to refer so much to examples that are well known in artistic\u00a0literature as to monographs of case studies and theoretical essays that\u00a0explore the origin and paradox of architecture as copy or invention using\u00a0systems of replica or duplication, at the same time challenging concepts\u00a0surrounding originality, authorship, completeness and memory. Aby\u00a0Warburg alerted us to this: each age has the antiquity it deserves.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"template":"","format":"standard","topic":[679,424,425,426,531,549,427,9,436,439,68,529,526,535,452,455,463,320,469,533,471,729,473,481,485,486,488,489,490,492,494,495,499,500,504,284,511,514,515,516,517,518,168],"country":[53],"nsj_language":[57,58],"class_list":["post-3365","call_for_papers","type-call_for_papers","status-publish","format-standard","hentry","topic-adaptive-reuse","topic-architectural-design","topic-architectural-heritage","topic-architectural-renovation","topic-architectural-technology","topic-architectural-theory","topic-architectural-typology","topic-architecture","topic-city","topic-conservation","topic-design","topic-design-methodology","topic-design-theory","topic-environment","topic-environmental-design","topic-garden-design","topic-history-of-architecture","topic-information-architecture","topic-interdisciplinarity-approach","topic-land-use","topic-landscape","topic-natural-environment","topic-natural-materials","topic-process-management","topic-project-tools","topic-public-spaces","topic-recycled-materials","topic-redevelopment","topic-rehabilitation","topic-representation","topic-restoration","topic-reuse","topic-simulation-tools","topic-smart-cities","topic-sustainability","topic-sustainable-development","topic-temporary-architecture","topic-urban-design","topic-urban-landscapes","topic-urban-planning","topic-urban-regeneration","topic-urban-restoration","topic-urban-studies-planning","country-spain","nsj_language-english","nsj_language-spanish"],"acf":[],"yoast_head":"\n