{"title":"“Notes and Queries … ” – That Wren drawing","authors":"Cat Fergusson Baugh","doi":"10.1080/23322551.2021.1935625","DOIUrl":null,"url":null,"abstract":"ABSTRACT In this article I will expand on work presented in ‘Haptic Insights: Model Making as Historical Methodology’ (Fergusson Baugh 2018) and demonstrate the value of the methodologies proposed there on a case study reconstruction of the second Drury Lane theatre (1674) initially prepared for the THEATRON project. I will explore the history of this building through a procedural engagement with source material and the development of a virtual model. I will also explore how an apparently inconsequential inconsistency in the section can account for Langhans, Mulling and Koenig’s disagreement (and resolve which of them was right), and how a process of computer modelling suggests a haptic insight into a more human history of a drawing that has been forcefully torn up but retained and carefully conserved for 350 years.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"4 1","pages":"24 - 38"},"PeriodicalIF":0.0000,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Theatre and Performance Design","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/23322551.2021.1935625","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT In this article I will expand on work presented in ‘Haptic Insights: Model Making as Historical Methodology’ (Fergusson Baugh 2018) and demonstrate the value of the methodologies proposed there on a case study reconstruction of the second Drury Lane theatre (1674) initially prepared for the THEATRON project. I will explore the history of this building through a procedural engagement with source material and the development of a virtual model. I will also explore how an apparently inconsequential inconsistency in the section can account for Langhans, Mulling and Koenig’s disagreement (and resolve which of them was right), and how a process of computer modelling suggests a haptic insight into a more human history of a drawing that has been forcefully torn up but retained and carefully conserved for 350 years.
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