Academic literature on the topic 'French architects'
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Journal articles on the topic "French architects"
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Glassman, Paul. "YOUNG FRENCH ARCHITECTS. Corinne Jaquand-Goddefroy , Claus KäpplingerYOUNG SPANISH ARCHITECTS. David Cohn." Art Documentation: Journal of the Art Libraries Society of North America 20, no. 2 (October 2001): 55. http://dx.doi.org/10.1086/adx.20.2.27949160.
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Juvanon du Vachat, A. "SPANISH INFLUENCE ON FRENCH MODERNIST LANDSCAPE ARCHITECTS." Acta Horticulturae, no. 937 (September 2012): 1251–55. http://dx.doi.org/10.17660/actahortic.2012.937.155.
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Tostões, Ana. "For an Architect’s Training towards Responsibility." For an Architect’s Training, no. 49 (2013): 2–3. http://dx.doi.org/10.52200/49.a.a360tyw7.
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The variety of discussions on architects’ mission, on architectural discipline and the recall on some key figures explain the argument of this Journal entitled For an Architect’s Training. The title quotes Walter Gropius’ “Blueprint for an architect’s training” spread through the French magazine L’Architecture d’Aujourd’hui in February 1950 (number 28), dedicated to “Walter Gropius, the spread of an idea” and realized by Paul Rudolph under the direction of Gropius himself who developed his ideas on design education between art and technique, creation, research and applied science.
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Cellauro, Louis, and Gilbert Richaud. "Thomas Jefferson and François Cointereaux, Professor of Rural Architecture in Revolutionary Paris." Architectural History 48 (2005): 173–206. http://dx.doi.org/10.1017/s0066622x00003774.
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Little is known about the contacts Thomas Jefferson (1743–1826), Minister to the Court of Louis XVI between 1784 and 1789 and future President of the United States, had with French architects during his residence in Paris, except those with Charles-Louis Clérisseau (1721–1820), who collaborated with him on the design of the Capitol of Virginia in Richmond from 1785. We know, however, that, at the end of his stay in France, Jefferson was in close touch with the French architect and agriculturalist François Cointereaux (1740–1830), as is proven by several unpublished letters written by each of them.
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Yaneva, Albena. "Modern Architecture as Inextensible." Joelho Revista de Cultura Arquitectonica, no. 9 (December 27, 2018): 82–89. http://dx.doi.org/10.14195/1647-8681_9_4.
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I will begin with this provocative, and quite unusual image, of an iconic building that we all know – the Eiffel Tower. Some of you might have heard about the media debates surrounding the “new design for the restructuring of the public spaces of the Eiffel Tower” announced by the French architect David Serero in March 2008. He suggested doubling the size of the tower’s highest observational platform. The architect claimed that “his firm’s proposal was accepted after an open call, and that the structure is expected to be assembled for the 120th anniversary of the tower construction.” But shortly after that, the government-contracted firm that manages the tower – la Société d’Exploitation de la Tour Eiffel – stated that the claims of the architect are a “hoax.” The communication chief denied that there was ever any call for architects regarding plans to redevelop the top of the monument and that Serero Architects never presented themselves as candidates for such a competition. The media outlets that ran with the story included: The Guardian, The New York Times, Architect, Bustler, The Daily Telegraph and Belfast Telegraph.
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Kotova, A. V. "RABAT'S GARDENS AS AN EXAMPLE OF THE INTENSIVE INFLUENCE OF EUROPE ON THE CULTURAL LANDSCAPES OF NORTH AFRICA." Landscape architecture in the globalization era, no. 4 (2020): 56–73. http://dx.doi.org/10.37770/2712-7656-2020-4-56-73.
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The article examines the formation of a neo-Mauritanian landscape and architectural style of Morocco, new for North Africa, during the reign of the French protectorate in the first half of the 20th century. A historical retrospective of the works of French architects, descriptions of the gardens and parks of the city of Rabat, built and reconstructed during the rule of the French protectorate, are given. Brief information is given about the redevelopment of the city, according to the ideas of the modern structure of colonial cities that existed at that time, described in the works of French architects. The process of landscape-architectural organization of the garden space is analyzed. The main planning and design features of the Moroccan gardens of the first half of the twentieth century, as well as the significance of the main elements that embody symbolic, religious and practical ideas, are revealed. It has been established that when designing the gardens, French architects tried to combine several styles, including landscape and architectural techniques traditional for Islamic gardens, inscribing them into the classical French regular layout characteristic of the European Art Nouveau period.
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Avermaete, Tom. "Monuments of Country, Climate and Culture: Michel Écochard and the Design of the Postcolonial Tropolis." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 32–39. http://dx.doi.org/10.52200/63.a.jjrx94uu.
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The French architect and urban designer Écochard, was one of the numerous architects that designed buildings and cities for newly independent nations in the post-war era of decolonization. Many of these young nation states were in search for urban and architectural projects that would explicitate a “proper” model of modernization that differed from that of the former colonizer. This essay argues that the principles of tropical architecture would play a key role in representing and monumentalizing such an alternative model of modernization.
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Vardouli, Theodora. "Points and lines, nodes and rods: megastructure, graph realism, and Yona Friedman’s scientific architecture." Architectural Research Quarterly 25, no. 3 (September 2021): 245–54. http://dx.doi.org/10.1017/s1359135522000070.
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In June 1966 Hungarian-born French architect Yona Friedman travelled to the port town of Folkestone on the English Channel to join the International Dialogue of Experimental Architecture (IDEA). The event was a large two-day symposium on radical experiments in architecture and urbanism organised by the British architectural collective Archigram. A leading figure in experimental international groups of architects and artists crafting techno-futuristic visions of three-dimensionally expanding cities, Friedman seemed to be an essential participant in an event advertised as a convocation of ‘all Europe’s creative nuts’.
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Alder, Ken. "French Architects and Engineers in the Age of Enlightenment." Technology and Culture 41, no. 3 (2000): 588–89. http://dx.doi.org/10.1353/tech.2000.0086.
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MASTALERZh, N. A. "THIRD SPACE. GENERAL THEORY OF HETEROTOPIA BY MICHEAL DEHAENE AND LIEVEN DE CAUTER." Urban construction and architecture 2, no. 3 (September 15, 2012): 35–39. http://dx.doi.org/10.17673/vestnik.2012.03.8.
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The term heterotopia was introduced by french philosopher Michel Foucault in his lecture in 1967 , that he held for some french architects. He was talking about some other spaces. Other spaces was published only in 1984, and since then has enjoyed increased attention from theoreticians of architecture, also as an attempt to put forward a new theory of time-space. But this article is not about Foucaults vision, but about theoretical work of Michiel Dehaene (architect, urbanist, PhD) and Leiven De Cauter (philosopher, art historian, writer, activist), who made attempt to rethink the Foucaults text, on the one hand by exposing him to criticism, on the other - seeing it as something that will give a new approach to the dichotomy of public private. The article gives a brief overview of the general theory heterotopia, its theoretical validity and recognition principles.
Dissertations / Theses on the topic "French architects"
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Mann, Georgia M. "Eugéne-Emmanuel Viollet-le-Duc (1814-1879) and the Romantic Reform Movement In Architecture." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500411/.
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This thesis examines French architect Eugene-Emmanuel Viollet-le-Duc (1814-1879), who combined eighteenth-century Rationalism with the historicist, anti-academic message of Romanticism, which was impelling the nineteenth-century architectural reform movement into the industrial age. Sources used include Viollet-le-Duc's architectural drawings and published works, particularly volume one of his Entretiens sur l'Architecture. The study is arranged chronologically, and it discusses his career, his restoration work, and his demands for reform of architectural education. One chapter contains a detailed analysis of his Entretiens. This thesis concludes that Viollet-le-Duc was as much a historian as he was an architect, and it notes that his hopes for reform were realized in the twentieth century.
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Hill, Kara Marietta. "Pascal-Xavier Coste (1787-1879) : a French architect in Egypt." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/13091.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (leaves 258-296).
The purpose of this dissertation is to examine the life of a Marseilles architect, Pascal-Xavier Coste (1787-1879), his architectural work in Egypt, and his subsequent historical publications on his return to France. In Egypt, Coste served as the chief architect of the Ottoman Viceroy, Muhammad Ali, during the early portion of his reign. Coste worked on modernizing Lower Egypt through various architectural and engineering projects. I plan to show that Coste was not only responsive to the needs of progressive design but was also sensitive to the Egyptian culture, creating a stylistic synthesis of European and Islamic forms. Unfortunately, due to Muhammad Ali's military expenditures, much of Coste's work was sidelined, to be built later in the governor's reign. Coste's original designs and realized buildings, however, continued to have a great impact on the design of Egyptian architecture throughout the nineteenth century. Through a narrative of the life of Coste concluding with his publication of Architecture Arabe ou Monuments du Kaire in 1837, I will illustrate Coste's attitude toward the Muslim world, his reasons for compiling the study of Egypt's monuments, and the ultimate reception the book received in mid-nineteenth century France. Coste greatly admired the Islamic architecture of Egypt and through his work hoped to share this love with his European audience. In addition, he wished to contribute to the pursuit of Islamic architectural history. Ultimately, Coste's work had little impact on nineteenth century historical studies because of the change in European politics and Europeans' attitudes toward the Middle East during the later part of the nineteenth century. By discussing Coste's life in the context of contemporary historical developments, I will argue that Coste's innovative objectivity led to the neglect of his work during the nineteenth century and the renewed appreciation of it by historians of Islamic architecture in the early twentieth century and beyond.
by Kara Marietta Hill.
Ph.D.
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De, Montgolfier-Seznec Flavie. "Théodore (1817-1885) et Albert (1849-1939) Ballu : architectes constructeurs et restaurateurs." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040037.
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Elève à l’école des Beaux-arts de Paris, premier prix de Rome à l’âge de 23 ans, Théodore Ballu (1817-1885) prolonge sa formation à l’Ecole française de Rome, et en Grèce, avant même l’ouverture de l’Ecole française d’Athènes. Sa carrière d’architecte, longue d’une trentaine d’années, est exceptionnelle. Auteur d’un quart des églises parisiennes construites sous le Second Empire, de l’Hôtel de Ville de Paris en collaboration avec Deperthes, et de plusieurs édifices ou monuments civils, il est un représentant majeur de l’éclectisme architectural. Ses édifices religieux auront une influence sur ses contemporains et sur la jeune génération d’architectes. Formé par son père et par Auguste Magne, Albert Ballu (1849-1939) a une carrière multiple et internationale : auteur du palais de justice néo-classique de Charleroi et de celui plus éclectique de Bucarest, il adapte ses autres productions aux techniques architecturales du tournant du XXe siècle. Architecte diocésain et architecte en chef des monuments historiques, il s’investit beaucoup en Algérie, jusqu’aux années 1920, où il fouille les grands sites romains, restaure les édifices religieux et construit des édifices variés. Chef de file de la valorisation de l’Algérie romaine et musulmane, il est l’architecte restaurateur de très nombreux édifices diocésains et monuments historiques, spécialement dans les départements des Charentes, en Bretagne et en Corse. Il se spécialise, aussi, dès 1889, dans la construction de pavillons d’expositions universelles. Résultant d’une étude détaillée de la vie et de l’oeuvre de ces architectes, cette thèse évalue leur importance dans la mise en place de modèles architecturaux et dans l’orientation des restaurations architecturales des années 1850 à 1920Théodore Ballu (1817-1885) was a pupil at the Ecole des Beaux-arts in Paris who won the Prix de Rome at the age of 23. He continued his studies at the French Academy in Rome and then in Greece, even before the opening of the French Academy in Athens. His thirty year career as an architect was exceptional. He designed a quarter of the Parisian churches constructed during the Second Empire. He was a major representative of architectural eclecticism, collaborating with Deperthes on the Hotel de Ville in Paris and working on several other public buildings and monuments. His religious constructions would influence his contemporaries and the next generation of architects. Albert Ballu (1849-1939) was trained by his father and by Magne. He had a varied international career, including designing the neo-classical Charleroi courthouse as well as the more eclectic one in Bucharest. He adapted his other productions to the architectural techniques at the turn of the twentieth century. As a diocesan architect and chief architect for historic monuments, he was heavily involved in Algeria until the 1920’s. Here he explored the great Roman archaeological sites, restored religious buildings and constructed various others. A leader in the movement to increase the status of Roman and Muslim Algeria, he was the restoring architect of large numbers of diocesan buildings and historic monuments, especially in the Charentes departments, as well as in Brittany and in Corsica. As early as 1889 he also specialised in the construction of pavilions for great exhibitions. The result of a detailed study of the lives and works of these architects, this thesis evaluates their importance in establishing architectural models and the direction of architectural restorations between 1850 and 1920
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Jacob, Delphine. "Pierre Guariche designer-architecte d'intérieur (1926-1995) et les nouveaux programmes architecturaux issus de la croissance." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010506/document.
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Cette thèse propose une approche monographique du parcours professionnel de Pierre Guariche, décorateur-créateur d’ensembles-Architecte d'intérieur français. Les «Trente Glorieuses» représentent un tournant décisif chez ce professionnel car elles coïncident avec les débuts de l'industrialisation de la filière ameublement. Le contexte historique et politique explique son engagement dans la création de programmes complets d'objets destinés il meuble les logements standardisés de la Reconstruction. Il comprend que le mobilier de série, fabriqué par des procédés industriels et a des prix raisonnables. peut remédier aux effets de l'insuffisance de la politique de l'Etat français. Afin d'adapter son mobilier «moderne» au plan-type. il s'inspire dl' la production des designers américains et crée des objets rationnels normalisés et innovants sur le plan technique et esthétique. En 1954, il sollicite Michel Mortier et Joseph-André Motte, et crée avec eux l' Atelier de Recherches Plastiques. Ils comprennent tous les trois que les jeunes créateurs doivent se fédérer autour d'un projet commun: la promotion de leurs meubles de série auprès des industriels, Par la suite, chacun reprend son indépendance pour se consacrer à ses travaux respectifs. Les nouvelles orientations professionnelles de Pierre Guariche lui offrent la possibilité de collaborer à des programmes inédits d'architecture intérieure, nés de la politique d'aménagement du territoire. Cette thèse aborde donc le contexte social, politique et économique durant lequel il exerce son activité mais également des faits et des acteurs, ce qui ouvre de futurs champs à explorer dans l'histoire du design françaisThis thesis puts forward a monographic approach to the career of Peter Guariche, designer-creator of French interior designer assemblies. The "Glorious thirty" represent a decisive turning point for this professional because they coincide with the beginning of industrialization in the furniture sector. The historical and political context explains his involveruent in the creation of full programs of articles intended to furnish standardized Reconstruction housing. He realizes that the mass production furniture, produced by industrial processes and at reasonable prices, can solve the effects of the failure of the policy of the French state, To adjust his "modem" furniture in the plan-type, it is inspired by the production of Arnerican designers and creates innovative standardized and rational objects on a technical and aesthetical level. ln 1954, he solicits Michel Mortier and Joseph-André Motte and creates with them L'Atelier de Recherches Plastiques. They understand that ail three young designers must unite around a common project: promoting their mass production furniture with manufacturers. Thereafter. each of them takes their independence and takes back their respective work. The ncw professional guidance of Pierre Guariche offers him the opportunity to collaborate on original interior architectural programs. stemming from the land use policy. This thesis deals with the social, political and economic contexts in which he practices, but also the facts and actors. which open up future areas to explore in the history of French design
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Plouzennec, Yvon. "La carrière de Claude Jean-Baptiste Jallier de Savault (1739-1806) : architecte du règne de Louis XV à l’Empire." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL141.
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L’architecte Claude Jean-Baptiste Jallier de Savault est une figure méconnue dont la redécouverte est relativement récente. Né en 1739 à Château-Chinon, il est élevé dans une famille bourgeoise de culture protestante. Au cours des années 1750, il s’installe à Paris et intègre l’agence de Jacques-Germain Soufflot, alors en pleine effervescence. Le cursus académique qu’il mène en parallèle de cette formation pratique, est couronné par deux seconds Prix en 1758 et en 1760. Soutenu par son maître et par Charles-Nicolas Cochin, il obtient un brevet d’élève architecte de l’Académie de France à Rome et séjourne au Palais Mancini en 1762. À son retour, il poursuit son apprentissage auprès d’Ange-Jacques Gabriel avant d’entamer une carrière au service des financiers d’Ancien Régime. Cette clientèle, à majorité protestante, lui offre l’opportunité de réaliser divers projets à Paris, mais également dans le nord-est du royaume, ainsi qu’en Suisse. Les dernières années du règne de Louis XVI, marquées par l’accession de Jacques Necker à la Direction générale des Finances, constituent le moment fort de sa carrière. Les deux succès publics qu’il remporte à cette époque (Place royale de Brest et hôtel de la Caisse d’escompte) ne voient pourtant jamais le jour, du fait des événements qui agitent le royaume. Après une parenthèse politique dans les premiers temps de la Révolution, il est employé par la Commission des travaux publics avant de devenir architecte des bâtiments civils sous le Directoire. Ce poste, qu’il occupe jusqu’à sa mort, en 1806, lui accorde un statut officiel qui constitue finalement l’aboutissement de la quête de légitimité qu’il mène tout au long de sa carrièreThe architect Claude Jean-Baptiste Jallier de Savault is an unsung figure whose rediscovery is relatively recent. Born in 1739 in Château-Chinon, he grew up in the Protestant milieu of a tradesman family. In the 1750s, he moved to Paris and joined the office of Jacques-Germain Soufflot, then at the height of its activity. The academic course he followed in parallel with this practical training was crowned by two second prizes in 1758 and in 1760. Supported by his master and Charles-Nicolas Cochin, he was accorded the status of a student architect of the Academy of France in Rome and resided at the Palais Mancini in 1762. Upon his return, he continued his apprenticeship with Ange-Jacques Gabriel before starting a career in the service of financiers of the Ancien Régime. This mostly Protestant clientele offered him the opportunity to carry out various projects in Paris, in thenorth-east of the kingdom, as well as in Switzerland. The last years of the reign of Louis XVI, marked by the accession of Jacques Necker to the Directorate General of Finance, was a propitious time in his career. Given thekingdom’s worsening political and financial situation, however, his two public commissions from this time (the Royal square of Brest and the Paris headquarters of the Caisse d’Escompte) were never built. After a brief engagement in political life in the early days of the Revolution, he was employed by the Public Works Commissionand subsequently became an architect of civil buildings under the Directory. With this post, which he held until his death in 1806, he finally gained something of the official status and legitimacy that had long eluded him
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Sénard, Adriana. "Étienne Martellange (1569-1641) : un architecte "visiteur" de la Compagnie de Jésus à travers la France au temps de Henri IV et de Louis XIII." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20119.
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Né à Lyon dans une famille d’artistes peintres et entré dans la Compagnie de Jésus en 1590, Étienne Martellange (1596-1641) eut une carrière exceptionnelle à laquelle rien ne le destinait pourtant. Il devint en effet le principal architecte visiteur de sa congrégation en France, un concepteur et un organisateur remarquable de même qu’un prolixe dessinateur. Durant près de quarante-trois ans, il voyagea sans cesse dans quatre des cinq provinces jésuites du royaume où il travailla à la réflexion, la construction, l’aménagement et le décor de plus de trente maisons et églises de la Compagnie, de même qu’en dehors de celle-ci. À l’aide d’un ensemble de trois-cent-soixante-neuf documents, plans, coupes, élévations, vues de villes et de monuments, lettres et mémoires rassemblés au cours des recherches dans diverses institutions et dépôts d’archives français et étrangers -parmi lesquels quarante-trois inédits-, cette étude envisage de présenter successivement qui était frère Étienne, quelles furent ses activités et quel fut son rôle dans le renouveau de l'architecture de son temps ainsi que dans la naissance de ce qui deviendra à la fin du Grand Siècle le "classicisme à la française"Born in Lyon in a painters family and entered the Society of Jesus in 1590, Étienne Martellange (1596-1641) had an outstanding career in which nothing yet the intended. He became in fact the main architect visitor to his congregation in France, a designer and an outstanding organizer as well as a prolific draftsman. For nearly forty-three years he traveled incessantly in four of five Jesuit provinces of the kingdom where he worked for reflection, construction, layout and decor of more than thirty houses and churches of the Company, and that 'outside thereof. Using a set of three-sixty-nine documents, plans, sections, elevations, views of cities and monuments, letters and memories collected during research in various institutions and deposits of French and foreign archives -among whom forty-three unpublished-, this study intends to present successively who was brother Étienne, what were its activities and what was his role in the revival of the architecture of his time and in the birth of what would become the end of the Grand Siècle "French classicism"
Books on the topic "French architects"
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Claus, Käpplinger, ed. Young French architects =: Jeunes architectes français. Basel: Birkhäuser, 1999.
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Houbart, Madeleine. French architects in Asia. [France]: Association française d'action artistique, 1998.
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French architects and engineers in the Age of Enlightenment. Cambridge [England]: Cambridge University Press, 1992.
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1886-1974, Dormoy Marie, and Araujo Ana Bela de, eds. Auguste Perret, Marie Dormoy: Correspondance 1922-1953. Paris: Éditions du Linteau, 2009.
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Leguay, Jean-Loup. Jacques Pierre Jean Rousseau, 1733-1801: Ingénieur et architecte en Picardie au siècle des lumières. Gand: Snoeck, 2018.
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editor, Garric Jean-Philippe, ed. Mia vita: Mémoires privés. Paris]: Aux éditions des Cendres, 2017.
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1723-1796, Chambers William Sir, ed. William Chambers: Une architecture empreinte de culture française. Paris: Presses de l'Université Paris-Sorbonne, 2010.
Find full textBook chapters on the topic "French architects"
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b, a. "French architects’ use of the law." In Industries of Architecture, 1–2. Taylor & Francis, 2015. http://dx.doi.org/10.4324/9781315670362-31.
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"Mediterraneanism: French And Italian Architects’ Designs In 1930s North African Cities." In The City in the Islamic World (2 vols.), 983–98. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004162402.i-1500.263.
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Godard, Jean Luc. "The cinema of the French New Wave and the illusionism of SITE architects." In The Architecture of the Screen, 11–20. Intellect Books, 2013. http://dx.doi.org/10.2307/j.ctv36xvtjs.5.
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Weir, David. "2. Paris." In Decadence: A Very Short Introduction, 34–56. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.003.0003.
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The decline of Rome held special relevance for the French because the architects of the French Revolution took Republican Rome as their model of governance. The work of the traditionalist critic Désiré Nisard, who compared the poetry of the decadent Romans to that of his romantic contemporaries, and the art of Thomas Couture are first considered. The writings of Baudelaire, Théophile Gautier, Joris-Karl Huysmans, and Marguerite Eymery Vallette (who wrote under the pen-name Rachilde) are also discussed. Their decadence was mostly confined to the literature they wrote. Such cultural decadence is typical of the Parisian variant during the 1880s.
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Macknight, Elizabeth C. "Residences and gardens." In Nobility and patrimony in modern France. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526120519.003.0007.
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The upkeep of aristocratic residences required constant interaction between nobles, stewards, servants and labourers, as well as professional architects and designers. From coastal manor houses to riverside châteaux and alpine villas, these properties regularly needed repair and beautification. Owners dictated when modern conveniences like electric lighting and plumbing were introduced to their homes, how furnishing and art should be selected and arranged, and what kinds of features would characterise the exterior, such as arboreta, fountains, and garden beds. This chapter explains the evolution of French legislation for protecting private residences and gardens showing how nobles responded to an increasingly interventionist State from the founding of the Monuments historiques to key laws passed under the Third Republic.
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Ozavci, Ozan. "Crossing the Mediterranean." In Dangerous Gifts, 21–41. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852964.003.0002.
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This chapter discusses that the French invasion of Egypt in 1798 epitomized a discursive practice in the Levant. European Great Powers of the time looked to supply security beyond their imperial territories by military expeditions, allegedly for the benefit of the locals even if against the will of the regional sovereigns—in this case, the Ottoman imperial rulers. The architects of the 1798 occupation, Bonaparte and Talleyrand, portrayed their expedition as a ‘service’ the Ottoman Empire. But, in reality, the 1798 expedition was the outcome of decades long debates in France. It ultimately resulted from a diverse set of geostrategic, political, economic and financial determinants that defined the Eastern Question in the late eighteenth century. What exactly did the Eastern Question pertain to before the nineteenth century then? And how did 1798 relate to it?
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O’Carroll, Aisling. "Panorama as Critical Restoration : Examining the Ephemeral Space of Viollet-le-Duc’s Study at La Vedette." In The Home, Nations and Empires, and Ephemeral Exhibition Spaces. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720809_ch01.
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La Vedette, the final home of French architect Eugène-Emmanuel Viollet-le- Duc, was completed in 1874 in Lausanne, Switzerland. The house contained the architect’s most ambitious restoration project: the reconstitution of Mont Blanc. Spanning two walls of his study, Viollet-le-Duc constructed an idealized mountain landscape through a painted panorama. Rather than depicting an existing site, he composed the landscape by synthesizing his geological knowledge with artistic technique. The room entangled the space of restoration with the architect’s private, personal, and professional life. This chapter will examine Viollet-le-Duc’s use of drawing and representation as methods of restoration in order to understand the speculative nature of the panorama and its function as a critical tool for restoration: simultaneously an act of creation and reproduction.
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"Baroque, French Classicism and Rococo (1650–1750)." In Architect's Drawings, 64–87. Routledge, 2006. http://dx.doi.org/10.4324/9780080454658-8.
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Shipway, Martin. "Gaston Defferre’s Loi-Cadre and its application, 1956/57: last chance for a French African ‘empire-state’ or blueprint for decolonisation?" In Francophone Africa at fifty, 15–29. Manchester University Press, 2013. http://dx.doi.org/10.7228/manchester/9780719089305.003.0002.
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The decolonization process in itself was very much characterized by personal decisions and networks between individuals, which in a way can be understood as precursors to the Franco-African links of the post-1960 period. Martin Shipway focuses on these links with regard to the elaboration of the Loi-cadre (or framework law) of 1956 that provided semi-autonomy for France’s African territories and was a milestone on the road to decolonization. Leading colonial officials, such as Governor-General Robert Delavignette and the high commissioners at Dakar and Brazzaville, were involved in this project, while the support of most leading African politicians, such as Léopold Sédar Senghor, was based on certain key conditions. However, according to Shipway, the reform process was most strongly driven by the pragmatism and political dynamism of the Law’s principal architects: Minister of Overseas France and mayor of Marseille, Gaston Defferre, and Ivorian political leader and French Minister of State, Félix Houphouët-Boigny. It shows the political agency of the colonized in a process mediated through the participation of individual actors.
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Lasc, Anca I. "Epilogue: The presentness of historicism: the Musée centennal du mobilier et de la décoration and the legacy of proto-interior designers." In Interior decorating in nineteenth-century France, 227–34. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0007.
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The Epilogue charts the career of Georges Rémon, artistic grandchild of Pierre-Luc Cicéri. Rémon was an inventor of interior designs that took the historicist, themed aesthetic to a new level. Equally well-versed in revivalist and Art Nouveau interiors, Rémon also invented interior decorating schemes that paid lip service to the more recent political regimes of the nineteenth century (Second Republic style, Louis-Philippe style, Napoléon III style) as well as decorative settings in what would later become the Art Deco style. His workshop designed not only period rooms for the 1900 universal exhibition but also interiors of several ocean liners that brought the French aesthetic to America. His career is thus a perfect example of how the artistic output of upholsterers, cabinet-makers, architects, stage designers, illustrators, collectors and department store managers, directed towards the private interior, invented a “system,” which saw that unity and harmony, as expressed through one main theme and coordinated by the same person, would guide the design of each interior. Without the invention of this “system,” the twentieth-century profession of the interior designer might never have been born.
Conference papers on the topic "French architects"
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Dupre, Karine, and Christelle Gress. "Can model-making makes better architects? A French and Australian comparative case-study." In Annual International Conference on Architecture and Civil Engineering. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2301-394x_ace15.73.
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Fellahi, Nadjla. "The Impact of Globalization on Architectural Production in Algeria Regarding Post-colonial Identity." In 6th International Students Science Congress. Izmir International Guest Student Association, 2022. http://dx.doi.org/10.52460/issc.2022.002.
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Algeria imported Western culture through early globalization, which continued with the global integration of the French colonial period and proceeded its impact in the postcolonial era. This paper seeks to analyse the impact of globalization in Algeria in the postcolonial era starting from the remaining colonial impact, as well as how it functioned as an introduction to modern globalization aspects in the postcolonial Algerian identity in the decades before to present. The impact of thousands of colonial houses occupied by Algerians shortly after independence that created old/new dwellings, as well as the rise of individualism as a result of the change in housing notion. The reaction of nationalist Algerian architects as well as the consequences of academics and architects studying abroad in parallel with the availability of internet, architectural media, and commodities, and the rise of consumer culture, that led the change in Algerians' housing preferences. Foreign investments and globalization trends: Are all the aspects that have been discussed to understand the impact of globalization on the post-colonial Algerian identity regarding architectural production. The results show that the Algerian post-colonial architectural production has been remarkably affected by both earlier globalization and modern globalization. Local authorities of Algeria can focus on making young architects familiar with traditional culture in order to maintain the authenticity of their culture in architectural design in the upcoming future.
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Barioglio, Caterina, and Daniele Campobenedetto. "Doctor Jekyll and Architect Hyde: Investigating the Double Nature of Architectural Teachers Within Polytechnic Schools." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.19.
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Since the foundation of polytechnic schools, design has been a critical feature of polytechnic culture, which aims at transforming the world. Herbert Simon (1969, 111) identified the main task of engineering schools in changing the existing situations into a different state with desirable features: Historically and traditionally, it has been the task of the science disciplines to teach about natural things: how they are and how they work. It has been the task of engineering schools to teach about artificial l things: how to make artefacts that have desired properties and how to design. Engineers are not the only professional designers. Everyone designs who devises courses of action aimed at changing existing situations into preferred ones. […] Design, so construed, is the core of all professional training; it is the principal mark that distinguishes the professions from the sciences. Although the concept of design is a site of common ground for poly-technic schools, how it is used and conceived of within the training of architects and engineers has been under discussion since the birth of the first engineering schools in France and Germany. Thus, this work is intended to look at the different epistemological assumptions held by the polytechnic institutions as a way to recognize common ground and differences among approaches to conceiving the design action in training and roles that teachers assume. In order to provide some interpretative elements to tackle these issues, this work is an analysis of different critical moments in the history of schools of architecture and engineering: the years from the French Revolution until the foundation of the Ecole des Beaux-Arts, and passing through the Bauhaus experience.
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Guido, Luca. "Bruno Zevi on Le Corbusier: another way to an “organic architecture”." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.760.
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Abstract: Bruno Zevi was an enthusiastic promoter of Frank Lloyd Wright’s architecture and theories. However, the critical enquiry and propaganda of the Italian architect and historian about so-called “organic architecture” reveals a major cultural debt to Le Corbusier. In 1945, Zevi published “Verso un’architettura organica” [Towards an organic architecture], the first version of his history of architecture. The title is clearly a polemical reference to Le Corbusier’s book “Vers une architecture” (1923). In 1977, together with other architects, Zevi promoted the Machu Picchu Charter, a document to “update” the Athens Charter (1933). The places held significance: Athens was the birthplace of western civilization and architectural rationalism. Machu Picchu symbolised the contribution of an alternative way of viewing the world. Are those merely examples of Zevi’s provocations? The relationship between Zevi and Le Corbusier is problematic and ambivalent. Zevi adopts the educational and communicative methods of Le Corbusier and his critical writing style, but his interpretation of the French-Swiss architect also demonstrates an attempt to delineate a new concept of “organic architecture”, related to his researches on a historiographic redefinition of the Modern Movement. Resumen: Bruno Zevi fue un entusiasta promotor de la arquitectura y las teorías de Frank Lloyd Wright. Sin embargo, la investigación crítica y la propaganda del arquitecto italiano e historiador sobre la llamada "arquitectura orgánica" revela una importante deuda cultural para Le Corbusier. En 1945, Zevi publicó "Verso un'architettura organica" [Hacia una arquitectura orgánica], la primera versión de su historia de la arquitectura. El título es claramente una referencia polémica al libro de Le Corbusier "Vers une architecture" (1923). En 1977, junto a otros arquitectos, Zevi promovió la Carta Machu Picchu, un documento para "actualizar" la Carta de Atenas (1933). Los lugares celebradas importancia: Atenas fue la cuna de la civilización occidental y el racionalismo arquitectónico. Machu Picchu simbolizaba la contribución de una forma alternativa de ver el mundo. Son esos meros ejemplos de las provocaciones de Zevi? La relación entre Zevi y Le Corbusier es problemática y bivalente. Zevi adopta los métodos educativos y comunicativos de Le Corbusier y su estilo crítico escrito, pero su interpretación del arquitecto franco-suizo también demuestra un intento de delinear un nuevo concepto de "arquitectura orgánica", en relación con sus investigaciones en una redefinición historiográfico de la Movimiento Moderno. Keywords: Bruno Zevi; Le Corbusier’s legacy; modern language invariants; five points; organic architecture. Palabras clave: Bruno Zevi; El legado de Le Corbusier; invariantes de lenguas modernas; cinco puntos; arquitectura orgánica. DOI: http://dx.doi.org/10.4995/LC2015.2015.760
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Quintana Guerrero, Ingrid. "Dattiers Andinos y la Búsqueda Paciente en Rue de Sèvres, 1948-1959." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.548.
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Resumen: Con la Unidad de Habitación marsellesa, el Atelier Le Corbusier transformaba su personal y métodos. Recurrentemente, se ha denominado a ésta como la fase del Grand Atelier, en cuyo ocaso surgieron nuevos desafíos y elementos para un “espacio inefable”. De límites imprecisos, esa Búsqueda Paciente implicaba un estado de ánimo transicional que confrontaba a Le Corbusier con sus propios métodos y con algunos de sus colaboradores, a los que peyorativamente atribuyó el apodo de dattiers (datileras), debido a su presunta arrogancia y baja productividad. Este trabajo reconstruye los principales aspectos del paso de algunos colaboradores suramericanos de Le Corbusier por París entre 1948 y 1959. Su participación fue larga e intensa, alcanzando en ocasiones el estatus de coordinadores y abordando obras en todas las escalas. Aún cuando, entre ellos, sólo Augusto Tobito fue directamente calificado como dattier, sus colegas colombianos compartían algo de su rebeldía, autonomía o destreza; de ahí que les hagamos extensivo ese apelativo. Así pretendemos construir un relato que contrarreste las abundantes narrativas sobre proyectos e influencia del franco-suizo en territorio andino. Abstract: With Marseille Housing Unit, the Atelier Le Corbusier began a transformation of its staff and methods. Frequently, this phase is known as Le Grand Atelier, receiving new challenges during its ending, and conceiving new elements for an “ineffable space”. With undefined boundaries, the Patient Research involved a transitional frame of mind opposing Le Corbusier to his own proceedings and to some of his collaborators. Pejoratively, the master named them as dattiers (datepalms), due to their alleged arrogance and low productivity. This work reconstructs several aspects of the internship of some South American collaborators on Le Corbusier at Paris between 1948 and 1959. Their participation was extended and intense, allowing them to reach, in some cases, the status of coordinators, and engaging works in all the scales. Even though just Augusto Tobito was directly called as dattier, his Colombian coworkers shared his rebellion, autonomy or skills. That is why we also use that adjective for them. We intend to create a complementary story for plenty of narratives about projects and influences of the French-Swiss architect in the Andes territory.Palabras clave: Le Corbusier; arquitectos modernos suramericanos; planes urbanos; proyectos de habitación. Keywords: Le Corbusier; South American Modern architects; urban plans; housing project. DOI: http://dx.doi.org/10.4995/LC2015.2015.548
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Lucas, Franck, Jean Perouzel, Frantz Sinama, and Franc¸ois Garde. "Instrumentation and Simulation of the Hygro-Thermal Conditions of a Green Building: A Study of the Impact of the Post-Occupancy Usages on Thermal Comfort." In ASME 2010 4th International Conference on Energy Sustainability. ASMEDC, 2010. http://dx.doi.org/10.1115/es2010-90499.
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Post-occupancy evaluations (POEs) are useful for evaluating the success of any building design, but are particularly useful in evaluating green buildings. It is the only opportunity architects and engineers have to learn if their buildings actually work as planned. On the other hand, following the “guidebook” of a green building, i.e. having occupants aware of the particularity of the premise and taught about how it works and what the proper usages are (which are not automatically straightforward), is of prime importance since misuse of a green building can directly lead to discomfort and energy over consumption. In that framework, this paper stresses the link between occupants’ usages and their indoor thermal comfort by attempting a quantification of the impact of each usage on indoor temperature and hygrometry (and thus thermal comfort), showing by the way that, in order a POE to fully give exploitable results, a communication to occupants on proper usages has to be the first step after the delivery of a green building. To study that link, the real case of a green building located in the French tropical island of La Re´union has been used. The overall idea followed in this work lies in two steps: The first one is the creation of a “validated” digital building description obtained thanks to a process of comparison between simulations outputs (DesignBuilder) and field measurements (weather and comfort stations), and to a “block by block” approach that allows independent validations of the description of the fabrics and of the description of the usages. The second step is the utilization of the model obtained in the first step to perform simulations of new usages, as modifications in natural ventilation features (doors, windows open or closed) or in number of occupants, lighting schedule etc. These new simulations lead to the possibilities of comparing situations between each others, and therefore of quantifying the contribution, positive or negative, of each chosen usage to thermal comfort. Eventually, this paper will describe an example of combination of new usages that makes the conditions noticeably more comfortable within the building, stressing that following the good usages in a green building is a first requirement before realizing any POE.
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Livesey, Graham, and Antony Moulis. "From Impact to Legacy: Interpreting Critical Writing on Le Corbusier from the 1920s to the Present." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.712.
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Abstract: As a major figure of international modernism, Le Corbusier’s work has been subject to extensive critique and review both during his lifetime and since, to the extent that he has become the world’s most studied 20th century architect. While numerous attempts have been made to assess Le Corbusier’s works and ideas in their meaning and influence, little attention has been given to understanding the phenomena of critical writing and research that continues to surround the architect. Drawing upon research by the authors in preparing a 4-volume anthology of writings on Le Corbusier’s work for a major British publisher in 2016, the paper will trace critical reaction to the architect’s practice through a survey investigation of research and writing produced mainly in English from the 1920s to the present. The paper will give a chronological account of the issues, ideas and approaches that have emerged in critical writings on Le Corbusier and his architecture, reporting on the historiographic questions that have presented themselves in undertaking such a large-scale survey work. Reviewing the work of well-known critics the survey has also sought out lesser-known voices whose presence reflects Le Corbusier’s impact around the world, providing new interpretations through fresh perspectives on his work. Keywords: Architectural criticism; Architectural historiography; 20th century architecture, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.712
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Sousa, Alberto J. "Towards a Reinterpretation of the So-Called Brazialian Neo-Classical Architecture." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.22.
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Brazilian architectura d historians have identified in Brazilian architecture a style of classicist nature, adopted during the period ranging broadly from 1810, which has been regarded as the Brazilian version of European Neo-classicism – and therefore has been named Neo-classical – and as a language derived mainly from French models. The have said, at the same time, that the French architect Grandjean de Montigny (who lived in Rio de Janeiro from 18 16 until his death in 1850) was the main propagator of that style and also the most prominent of the designers who made use of it. A careful research that I undertook during more than two years led me to an understanding which differs from these views.
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Day, Kristen, and Erin Campbell. "Four Melbourne Architects (1979): The Creation of Contemporary Perceptions for Australian Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3994pszy5.
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In 1979, Peter Corrigan conceived the idea for the ‘Four Melbourne Architects’ exhibition to be held at South Yarra’s Powell Street Gallery. Corrigan led the charge to draw a line between a new generation of architectural practitioners with a fresh design agenda and the conservative practices represented by the Royal Australian Institute of Architects (RAIA). This exhibition, along with the establishment of the Half Time Club and the launch of Transition Magazine, provided platforms for a lively and vigorous profession. The ‘Four Melbourne Architects’—Greg Burgess, Peter Crone, Norman Day and Edmond and Corrigan—were diverse in their approach to architectural design yet shared common concerns of the post-Whitlam generation. The research for this paper examines the documentation between the four architects as they prepared their exhibition, recording the projects exhibited, along with critical reviews of the exhibition. Interviews have been undertaken with the surviving architects involved and people who attended the exhibition. Four Melbourne Architects was the first of many exhibitions during that period, which became one of many vehicles for public engagement with early postmodernism and those creating it, where collaboration, inclusion, and connectivity informed designers. That process activated a search for a contemporary Australian identity leading to the development of the ‘Melbourne School’.
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Such Sanmartin, Roger. "Complejidad y contradicción en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.827.
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Resumen: En 1966 Robert Venturi publica Complexity and Contradiction in Architecture. Este libro representa uno de los alegatos más severos contra las limitaciones de la arquitectura moderna. Concebido como un ensayo visual, mediante una colección de ejemplos de épocas y lugares muy heterogéneos, las tesis de Venturi denotan una fuerte animadversión hacia las posiciones funcionalistas de la ortodoxia moderna. De entre todas las obras que lo ilustran, Le Corbusier aparece paradójicamente como el arquitecto al que más se alude y la Villa Savoye, por sorpresa, como la obra de referencia. Frente a la lectura establecida y canónica de la arquitectura de Le Corbusier, el análisis de Venturi supone una mirada fresca y alternativa de sus posiciones teóricas. A través de sus estrategias basadas en la fenomenología de la complejidad y la contradicción, Venturi descubre la arquitectura tensa y vibrante de Le Corbusier que, sin renunciar nunca a sus convicciones modernas, tampoco sucumbió ante ellas. Abstract: In 1966 Robert Venturi publishes Complexity and Contradiction in Architecture. This book represents one of the most serious allegations against the limitations of the modern architecture. Conceived as a visual essay, with a collection of examples from different times and places, the text of Venturi denotes a strong hostility against the functionalist positions of the orthodox Modern architecture. Paradoxically, in the book of Venturi, Le Corbusier appears as the most mentioned architect and the Villa Savoye -by surprise- as the most quoted work. In opposition of the classical view of Le Corbusier’s work, the analysis of Venturi represents a new fresh look and alternative view of his theoretical positions. Through his multiple strategies based on the phenomenology of complexity and contradiction, Venturi discovered the intense and vibrant architecture of Le Corbusier who, without ever renouncing his modern convictions, he didn’t succumb to them. Palabras clave: Le Corbusier, Venturi, Complejidad y contradicción, Norma y transgresión. Keywords: Le Corbusier, Venturi, Complexity and Contradiction, Norm and Transgression. DOI: http://dx.doi.org/10.4995/LC2015.2015.827