Abstract:

In the immediate aftermath of the devastating fire that ravaged Notre-Dame de Paris on April 15–16, 2019, the French government announced a competition for the reconstruction of the cathedral’s spire. This article examines several preliminary plans from architects and designers responding to the April 17 call for proposals and the notable effect of digital technologies in the realization of all the designs. Through a comparison of these plans to the restorations made by Eugène-Emmanuel Viollet-le-Duc to the church in the middle of the nineteenth century, approaches to the problematic concept of the Gothic style are emphasized. In this analysis, attention is placed on the surprising theoretical similarities between notions of the Gothic and the digital despite their drastically different historical origins as ideas. Brought together, the need for clarification of the conceptual significance of the future, digitally-enabled Gothic edit for Notre-Dame de Paris emerges as an essential aspect of the building’s preservation as a historic monument. Given the sensibilities of our digital age of permanent impermanence, idealism, and the possibility of the forever future edit, the potential reconstruction of Notre-Dame de Paris offers unbounded architectural temptations and the possibilities of every Gothic variety that require tempering.

摘要：

在 2019 年 4 月 15 日至 16 日摧毁巴黎圣母院的毁灭性火灾之后，法国政府宣布了一项重建大教堂尖顶的竞赛。本文审查了建筑师和设计师响应 4 月 17 日的提案征集的几个初步计划，以及数字技术在所有设计实现中的显着影响。通过将这些计划与 Eugène-Emmanuel Viollet-le-Duc 在 19 世纪中叶对教堂进行的修复进行比较，强调了对哥特式风格这一有问题的概念的处理方法。在此分析中，尽管哥特式和数字式概念在思想上有着截然不同的历史起源，但它们在理论上惊人的相似性得到了关注。汇集，需要澄清未来的概念意义，巴黎圣母院的数字化哥特式编辑成为该建筑作为历史古迹保护的一个重要方面。考虑到我们数字时代的永恒无常、理想主义和永远未来编辑的可能性，巴黎圣母院的潜在重建提供了无限的建筑诱惑和每个哥特式变体的可能性，需要回火。