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For instance, the “reconstruction” of the Market Gate of Miletus by Theodor Wiegand (1864-1936), the renowned archaeologist and the director of the Antiquity Collection in Berlin c. 12 Wiegand achieved the “Roman” gate by using modern materials available in Berlin at the time of the construction: iron, brick, cement and stucco. More troubling, however, is the fact that Wiegand gave the gate the finish of aged marble, imitating, as it were, the appearance of a Roman original, had it survived the effects of time up until our own day.

Scully’s poetic—and ahistorical—description of the original Greek experience as it is embedded in the present-day ruins does not take into consideration that most of the ruins available in situ are the products of modern archaeological reconstruction. It is therefore impossible to have an “original” vision of the Greeks unmediated by modern science. 16 1. 2. ” The idea of the museum of architecture seems to rest on the assumption that architecture’s relation to its object is similar to the relation of art to the work of art.

A subsequent decision in 1998, however, reversed the results of the previous competition and gave the commission for the renovation of the Neues Museum to the British architect David Chipperfield whose prize-winning competition entry of 1994, in contrast to that of Grassi, makes direct “connection links” between the museums. 1 (January 1995): 13. ”26 The most significant part of this “archaeological promenade” consists of the Pergamon Museum, which will be reorganized and expanded according to a design by the German architect Oswald Mathias Ungers.

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