By Bressani, Martin; Viollet-le-Duc, Eugène-Emmanuel
Notre-Dame in Paris, the walled urban of Carcassone, the citadel at Pierrefonds, visionary initiatives utilizing iron construction...Eugene-Emmanuel Viollet-le-Duc's significance inside of smooth structure can't be overstated. Hailed as one of many key theoreticians of modernism, he was once additionally the main popular recovery architect of his age, a celebrated medieval archaeologist and a fervent champion of Gothic revivalism. He released one of the most influential texts within the heritage of contemporary structure akin to the Dictionnaire raisonne de l'architecture francaise du XIe au XVIe siecle and Entretiens sur l'architecture, but in addition experiences on struggle, geology and racial historical past. Martin Bressani expertly lines Viollet-le-Duc's complicated highbrow improvement, mapping the attitudes he followed towards the prior, displaying how recovery, in all its layered which means, formed his outlook. via his lifestyles trip, we stick with the path through which the technological topic used to be born out of nineteenth-century historicism
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Extra info for Architecture and the historical imagination : Eugène-Emmanuel Viollet-le-Duc, 1814-1879
One day we entered the church of Notre-Dame; and he carried me in his arms, for the crowd was great. The cathedral was hung with black. My gaze rested on the painted glass of the southern rose-window, through which the rays of the sun were streaming, colored with the most brilliant hues. I still see the place where our progress was interrupted by the crowd. All at once the roll of the great organ was heard; but for me, the sound was the singing of the rose window before me. 1 In the “Premier Entretien,” Viollet-le-Duc used the anecdote to support his argument about the unity of the arts.
Pen and ink. 7 cm. Bibliothèque de l’INHA, Collections Jacques Doucet, Paris. -E. Viollet-le-Duc. Aubusson carpet of a design copied from a motif in the chapel of the cathedral of Notre-Dame in Paris. Undated. Flat-woven wool. 0 cm. Private collection. 6 Portrait of Viollet-le-Duc. Daguerreotype. 1840. 7 Félix Duban. Lateral section towards the east end of the Sainte-Chapelle. Detail from Polychromy of the west and east ends of the Sainte-Chapelle. 1844. Ink, watercolor and wash. 2 cm. -E. Viollet-le-Duc.
Hence, restoration, in all its layered meanings, pervaded his outlook. 4 For Bann, the flood of historical representations in both traditional and new media during the first half of the nineteenth century stemmed from a desire to restore depth to a flattened contemporary reality. The Revolution and the chaotic Napoleonic regimes that followed transformed the general sense of dispossession which came with the emergence of modernity into a sense of temporal seizure. Such loss of the past, according to Bann, led to a “desire for history” that spilled over all disciplinary barriers and invaded every type of cultural activity.