Talk:Ruin value

Initial comments
There really isn't much more to say about this subject...so I removed the stub tag.


 * Then maybe we should merge this with a larger article. 204.52.215.107 22:51, 9 August 2005 (UTC)


 * There's a few more things that could be said, though I don't presently have the sources to do so. Speer had actually developed the theory in some detail, including some decisions about which materials were to be preferred or avoided, and which methods of construction would be most suitable. There was also some controversy within Nazi circles about the theory—one camp thought planning for Nazi buildings to ever fall into ruin, rather than gloriously live on in the "thousand-year Reich", was pessimistic or even downright unpatriotic. --Delirium 14:30, 15 January 2007 (UTC)

German name
Do we know the German name? It would be relevant... --Dpr 02:51, 10 December 2005 (UTC)

WTC
When I read this article, I immediately thought of the ruins of the World Trade Center Twin Towers. Not that thoughts of their collapse were on the minds of the architects, but that their ruins were highly distinctive thanks to their manner of collapse, and that even now, I can picture them in my mind's eye. --205.201.141.146 20:33, 20 March 2007 (UTC)

Repetition
This article is entirely dealt with (and considerably better than here) on the Nazi architecture page. I believe it does warrant its own page, however, but certainly the lion's share of the information should be moved here with a "Main article:" tag in its place.--Breadandcheese 21:21, 15 September 2007 (UTC)

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Incorrect content
The article states that the whole theory was pioneered by Albert Speer, but the idea of beautiful ruins has been around for much longer. I know specifically that John Soane built the Bank of England building with the vision of making beautiful ruins as far back as the 1820s. This would also make the whole thing a general architecture article and not just nazi-related. --RivoClavis 16:08, 4 January 2009 (UTC)
 * Indeed, this is stated for example in Charles Rosen's The Romantic Generation, p. 93. It was also an important concept in literature in the 1790s, in which "[t]he most responsible artist...creates the work in terms of its inevitable ruin...the ultimate goal of the work". Already in 1794 Schiller wrote: "Der wirkliche und ausdrückliche Gehalt, den des Dichter hineinlegt, bleibt stets eine endliche; der mögliche Gehalt, den er uns hineinzulegen überlässt, ist eine unendliche Grösse." Double sharp (talk) 06:51, 31 July 2016 (UTC)