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Construction–Deconstruction–Reconstruction: The Digital Representation of Architectural Process at the Abbey of Notre-Dame d’Ourscamp

Virtual reconstructions have a number of aims. The first is to model existing structures and to provide a visualization—often for public consumption—that allows viewers to experience movement in and around the building. The second—and quite different—aim is a three-dimensional examination of a structure, frequently one that has been destroyed. The reconstructions of the late Manfred Koob and his team at the Technisches Universität at Darmstadt, for example, have been one of the models for our work. They have produced analytic reinterpretations of the medieval church of Cluny III and have digitally reconstructed several partially-destroyed synagogues, like the one in Cologne (Figs. 1 and 2). The synagogue reconstructions harness information technology in the service of cultural memory. In this second approach, the researcher is literally “rebuilding” the structure anew. Despite their contributions, the two marvelous examples of 3D reconstruction in Figs. 1 and 2 present only single phases of Cluny and Cologne, and this is typical of much digital reconstruction work. Buildings, however, usually have multiple phases—what we might call “extended cultural biographies.” Our work in archaeology and architectural history has focused upon the aspects of a building that change through construction, deconstruction, and rebuilding. Information on the evolving nature of buildings is usually conveyed through phased plans like those that we have published for the abbey of Saint-Jean-des Vignes in Soissons (Fig. 3). A plan, however, flattens the kinds of information