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Journal articles on the topic 'Viollet-le-Duc'

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Published: 4 June 2021
Last updated: 14 March 2023

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1

Clark, William W., Francoise Berce, and Bruno Foucart. "Viollet-le-Duc." Art Journal 48, no. 4 (1989): 356. http://dx.doi.org/10.2307/777022.

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2

Clark, William W. "Viollet-le-Duc." Art Journal 48, no. 4 (December 1989): 356–58. http://dx.doi.org/10.1080/00043249.1989.10792656.

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3

Ramazza, Elena. "RILEGGERE VIOLLET-LE-DUC ATTRAVERSO ROLAND BARTHES: VERSO UNA LETTURA SEMIOTICA DEL MITO DEL MEDIOEVO NELL’OTTOCENTO." Signa: Revista de la Asociación Española de Semiótica 32 (January 10, 2023): 517–42. http://dx.doi.org/10.5944/signa.vol32.2023.32676.

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L’articolo propone una lettura dell’operato di Viollet-le-Duc attraverso la definizione di mitologia elaborata da Roland Barthes. Lo spunto di riflessione contemporaneo è il ripristino della flêche della Notre-Dame di Parigi, dopo l’incendio del 2019. La lettura di Viollet-le-Duc come creatore di mito è motivata da una serie di apparenti contraddizioni interne al suo pensiero. Inizialmente, appare particolarmente rilevante il ruolo della intentio lectoris, poi, secondo la fenomenologia del mito di Barthes, si individuano nell’opera di Viollet: il concetto e le sue implicazioni politiche; la molteplicità delle forme; le strategie di adattamento della forma al concetto e i meccanismi di naturalizzazione del concetto. Infine, si riflette sull’opportunità di applicare questa lettura a un’epoca diversa da quella di Barthes, proponendo un nuovo cammino di ricerca che tenga conto di una presunta ingenuità di Viollet-le-Duc, e apra a una visione più universale della fenomenologia del mito.
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4

MARTI, AINA. "Forms of Building, Forms of Living: Viollet-Le-Duc’s Entretiens sur l’architecture and Zola’s Pot-Bouille." Australian Journal of French Studies: Volume 58, Issue 3 58, no. 3 (December 1, 2021): 248–61. http://dx.doi.org/10.3828/ajfs.2021.21.

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This article examines the historical and theoretical connections between architect Eugène Viollet-Le-Duc (1815-1879) and Émile Zola (1840-1902). By analyzing the ways in which Viollet-Le-Duc’s theory on domestic architecture in his Entretiens sur l’architecture (1863-1872) resonates in Zola’s Pot-Bouille (1882), this study illustrates how Zola’s text depicts the correlation between architectural form and ways of living. In light of the work of Viollet-Le-Duc, the particular characteristics of domestic architecture in Pot-Bouille are imagined to mould the personalities of the inhabitants, thereby shaping their domestic values. First, the ways in which Viollet-Le-Duc’s theory overlaps with naturalism are introduced. Then Zola’s own interest in architecture and his knowledge of Viollet-Le-Duc are documented. Finally, the article argues that, in Pot-Bouille, domestic architecture has an influence on the characters’ domestic lives and that a study of Entretiens provides a better cultural understanding of Pot-Bouille and the ways in which architecture was imagined to impact on people’s personalities.
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5

Bennert, Uwe. "L'ironie de Viollet-le-Duc." Bulletin Monumental 154, no. 1 (1996): 87. http://dx.doi.org/10.3406/bulmo.1996.4534.

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6

EMOTO, Hiroshi. "RUSKIN AND VIOLLET-LE-DUC." Journal of Architecture and Planning (Transactions of AIJ) 82, no. 731 (2017): 243–49. http://dx.doi.org/10.3130/aija.82.243.

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7

Gaussuin, Bérénice. "Eugène Viollet-le-Duc : une oeuvre entre restauration et création." Apuntes. Revista de estudios sobre patrimonio cultural 30, no. 2 (December 20, 2017): 60–71. http://dx.doi.org/10.11144/javeriana.apc30-2.evld.

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L’architecte Eugène Viollet-le-Duc a été un créateur bâtisseur dont le terrain d’expérimentation principal était le mo­nument historique. De son premier chantier à la Madeleine de Vézelay – qu’il prend en charge à 26 ans – jusqu’à la publication en 1866 de son article « Restauration », en passant par la restauration de la cathédrale Notre-Dame de Paris, il a élaboré grâce à la pratique, une méthodologie parallèlement à sa théorie rationaliste et à sa théorie de la restauration. La progression de cette théorie passe de la prudence, de la modestie de l’artiste face à l’histoire, à un éloignement des archéologues pour faire entrer le projet d’architecture dans le monument historique. Viollet-le-Duc a étudié sans relâche la matière du bâti historique, dans le but de la fait plier à ses objectifs théoriques et doctrin­aux. Dans son approche du projet, Viollet-le-Duc s’est positionné en praticien maîtrisant son chantier quel qu’en soit l’objet : monuments historiques ou créations ex-nihilo, il a transfèré les méthodes, les équipes, les formes pour que la création participait de la restauration.
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8

Vinegar, Aron. "Chatography." Journal of the Society of Architectural Historians 71, no. 3 (September 1, 2012): 362–85. http://dx.doi.org/10.1525/jsah.2012.71.3.362.

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The centrality of cats—and the act of drawing cats—to the nineteenth-century architect Eugène-Emmanuel Viollet-le-Duc’s modus operandi as an architectural theorist and restorer is evident from the beginning to the very end of his career. He took great pleasure in interacting with cats, observing their habits, and learning from their supple, graceful movements. In Chatography, Aron Vinegar studies the Château de Pierrefonds, restored in the mid-nineteenth century by Viollet-le-Duc, and argues that the crucial issues at stake in Viollet-le-Duc’s understanding of restoration may be gleaned from his drawings of cats and war machines that demonstrate an interest in movement, unruly forces, and affect, rather than equilibrium and balance. This reading enables us to question the prevalent understanding of Viollet-le-Duc as a structural rationalist, and to appreciate the complex relation between architecture and representation.
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9

Dollfus, Olivier. "Viollet le Duc et la montagne." Revue de géographie alpine 81, no. 2 (1993): 185–86. http://dx.doi.org/10.3406/rga.1993.3714.

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10

Dos Reis e Cunha, Claudia. "Restaurando Viollet-le-Duc. Apontamentos a partir do incêndio na Catedral de Notre Dame de Paris. Um pretexto para falar de métodos e critérios." arq.urb, no. 31 (August 9, 2021): 3–16. http://dx.doi.org/10.37916/arq.urb.vi31.491.

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Este texto apresenta apontamentos sobre a necessária restauração da Catedral de Notre Dame, em Paris, em decorrência do incêndio de grandes proporções que atingiu a edificação em abril de 2019. A tragédia que se abateu sobre este importante bem cultural acende um intenso debate sobre quais seriam os caminhos para sua recuperação, sendo voz corrente a possibilidade de uma reconstrução dov’era, com’era e outras posturas mais coerentes com orientações teórico-metodológicas mais recentes do campo da restauração, indicadas nas Cartas Patrimoniais e outros documentos internacionais. Quando Viollet-le-Duc, juntamente com Lassus, restaurou esta mesma Catedral, na segunda metade do século XIX, os debates não foram menos intensos. E agora cabe ao restaurador do século XXI intervir sobre a obra de Viollet-le-Duc. Quais princípios adotar? Este artigo tem por objetivo, a partir de apontamentos sobre Viollet-le-Duc e a restauração de Notre Dame de Paris, problematizar as questões conceituais e metodológicas em pauta neste século XXI nas intervenções sobre o patrimônio edificado.
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11

Vargaslugo, Elisa. "Viollet-Le Duc. Entretiens Sur L´architecture." Anales del Instituto de Investigaciones Estéticas 15, no. 57 (August 6, 1986): 189. http://dx.doi.org/10.22201/iie.18703062e.1986.57.1340.

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12

Asencios Lindo, Rodolfo Gerbert. "LA RESTAURACIÓN DEL ACLLAWASI EN EL SANTUARIO DE PACHACAMAC, 1940-1944. IDENTIFICANDO LAS HUELLAS DE VIOLLET-LE-DUC, UN ANÁLISIS COMPARATIVO." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 7 (January 18, 2018): 29. http://dx.doi.org/10.21754/devenir.v4i7.134.

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La restauración del Acllawasi o Templo de las Mamaconas representa una de las primeras intervenciones a gran escala realizadas en el Santuario de Pachacamac, cuya importancia se debe no solo a que fue ejecutada por Julio C. Tello entre 1940 y 1944, sino a que dicho monumento es considerado uno de los edificios más representativos que conforman dicho santuario. Sin embargo, a pesar de su trascendencia, poco se conoce sobre los objetivos y fines que determinaron la restauración de esta edificación. Por ello, mediante la revisión de publicaciones, recortes periodísticos y documentos inéditos, el presente artículo esbozará el primer panorama sobre cómo se desarrolló dicha intervención, en la que además se evidencia la aplicación de los principios y postulados de Viollet-le-Duc, principal representante de la restauración estilística en Europa. Este análisis será un aporte que permita conocer acerca de la historia de la conservación arqueológica en el Perú. Palabras clave.-Acllawasi, Pachacamac, Viollet-le-Duc. ABSTRACTThe restoration of the Acllawasi or Temple of the Mamaconas represents one of the first large-scale interventions carried out in the Sanctuary of Pachacamac. It owes its importance not only to the fact that Julio C. Tello executed it between 1940 and 1944, but also to the monument’s importance among the buildings that make up the sanctuary. Nonetheless, despite its transcendence, little is known about the goals and ends that determined the restoration of this edifice. Thus, through an appraisal of publications, newspaper clippings, and unpublished documents, this paper sketches the first overview of the restoration process. It also illustrates the application, in the project, of the principles and proposals of Viollet-le-Duc, the main representative of European stylistic restoration. The analysis presented here will therefore allow readers to know about the history of archaeological conservation in Peru. Keywords.-Acllawasi, Pachacamac, Viollet-le-Duc.
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13

Kalčić, Helena. "Eugène Emmanuel Viollet-le-Duc and monument protection: A case study." Urbani izziv 25, no. 2 (December 2014): 58–69. http://dx.doi.org/10.5379/urbani-izziv-2014-25-02-005.

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14

Vicari Filho, William. "A proteção do patrimônio cultural brasileiro e sua relação com a teoria de Viollet-Le-Duc." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 19 (June 24, 2021): 1–9. http://dx.doi.org/10.11606/1984-4506.risco.2021.169113.

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Com o desenvolvimento das restaurações de patrimônios históricos como disciplina acadêmica, na Europa do século XIX, o pensamento de Viollet-Le-Duc tornou-se um norteador. Segundo o arquiteto, “restaurar um edifício é restituí-lo a um estado completo que pode nunca ter existido num momento dado”. Com os estudos sobre a Idade Média, frutos do desenvolvimento de uma identidade nacional, esses “restauros em estilo” manifestaram-se em Igrejas e Castelos europeus. No Brasil, graças ao projeto nacional Modernista, um processo paralelo ocorreu, tendo como elemento central a cultura barroca, sobretudo na cidade de Ouro Preto. O SPHAN, posteriormente IPHAN, foi o órgão encarregado para proteger o patrimônio que manifestaria tal cultura, e sua atuação tem muito em comum com os postulados de Eugène Viollet-Le-Duc.
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15

Kalčić, Helena. "Eugène Emmanuel Viollet-le-Duc and monument protection: A case study." Urbani izziv 25, no. 2 (December 2014): 130–42. http://dx.doi.org/10.5379/urbani-izziv-en-2014-25-02-005.

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16

Pautkin, Alexey. "Fyodor Buslaev and Eugène Emmanuel Viollet-le-Duc." Stephanos. Peer reviewed multilanguage scientific journal 30, no. 4 (July 31, 2018): 103–8. http://dx.doi.org/10.24249/2309-9917-2018-30-4-103-108.

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17

Dépoisse, Stéphanie. "Prosper Mérimée, La Correspondance Mérimée-Viollet-le-Duc." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 211. http://dx.doi.org/10.4000/studifrancesi.40956.

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18

Anz, Craig K., and Kevin D. Murphy. "Memory and Modernity: Viollet-le-Duc at Vezelay." APT Bulletin 34, no. 4 (2003): 55. http://dx.doi.org/10.2307/1504875.

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19

Reiff, Daniel D. "Viollet-le-Duc and American 19th Century Architecture." Journal of Architectural Education (1984-) 42, no. 1 (1988): 32. http://dx.doi.org/10.2307/1424998.

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20

Zirnheld, Bernard. "Review: Viollet-le-Duc: Les visions d’un architecte." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 386–87. http://dx.doi.org/10.1525/jsah.2015.74.3.386.

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21

Reiff, Daniel D. "Viollet-le-Duc and American 19th Century Architecture." Journal of Architectural Education 42, no. 1 (October 1988): 32–47. http://dx.doi.org/10.1080/10464883.1988.10758508.

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22

Rodrigues, Paulo Simões. "O detalhe como dispositivo temporal do restauro arquitetónico em Portugal no século XIX: o caso do comboio no convento da Madre de Deus em Lisboa." Palíndromo 14, no. 33 (May 1, 2022): 64–86. http://dx.doi.org/10.5965/2175234614332022064.

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Em Lisboa, no século XIX, durante a campanha de restauro do Convento da Madre de Deus, edifício fundado no século XVI, no capitel de uma das colunas de um dos claustros, foi esculpido um comboio a vapor, a entrar num túnel. Pretendemos demonstrar que não se tratou de um equívoco, mas da figuração de um detalhe explicitamente moderno que funcionasse como dispositivo temporal que distinguisse as alterações introduzidas pelo restauro das pré-existências, em linha com o restauro filológico de Camillo Boito, mesmo quando as primeiras recriavam o estilo arquitetónico original do edifício, em conformidade com os princípios do restauro estilístico de Eugène-Emmanuel Viollet-le-Duc. Num restauro ainda dominado pela doutrina de Viollet-le-Duc, representará um primeiro impacte da receção das ideias de Boito em Portugal.
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23

Galyamichev, A. N. "E. E. Viollet le Duc and His Place in History of Study of French Towns in the Middle Ages." Izvestiya of Saratov University. History. International Relations 12, no. 4 (2012): 35–38. http://dx.doi.org/10.18500/1819-4907-2012-12-4-35-38.

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The author of this article examine scientific legacy of famous French architect and historian E. E. Viollet le Duc (1814–1879), define his contribution in study of history of French towns in the Middle Ages.
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24

Bressani, Martin. "Opposition et équilibre : le rationalisme organique de Viollet-le-Duc." Revue de l'Art 112, no. 1 (1996): 28–37. http://dx.doi.org/10.3406/rvart.1996.348266.

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25

Toca, Antonio. "Origen de textil de la arquitectura." Anales del Instituto de Investigaciones Estéticas 26, no. 85 (August 7, 2012): 61. http://dx.doi.org/10.22201/iie.18703062e.2004.85.2185.

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El artículo perfila la vigencia de dos teorías de la arquitectura, escritas a mediados del siglo xix por Gottfried Semper y Eugène Viollet-le-Duc, cuyos conceptos materialista-constructivos rebasaron programáticamente la tradición vitruviana. La teoría de Semper cobra un interés especial para la historia del arte porque incluye una novedosa perspectiva antropológica en la comprensión teórica de la arquitectura, mientras que la teoría de Viollet-le-Duc reclamó la racionalidad de la construcción, por ejemplo de las catedrales góticas, que se opuso claramente a los cánones clásicos de la École des Beaux-Arts. En especial la teoría de Semper determinó profundamente la arquitectura moderna del siglo xx, por ejemplo de Frank Lloyd Wright, Mies van der Rohe y Le Corbusier; además contiene estímulos para la revisión de la arquitectura actual en México que todavía, bajo la duradera influencia de Luis Barragán, se fija en la tradición constructiva de las paredes masivas y adopta rara vez la propuesta analítica de Semper.
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26

Garric, Jean-Philippe, Andrés Ávila Gómez, and Diana Carolina Ruiz. "Tres arquitectos historiadores: Hittorff, Viollet-le-Duc y Garnier." Dearq, no. 22 (January 2018): 80–93. http://dx.doi.org/10.18389/dearq22.2018.07.

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27

Byrnes, Joseph F. "Memory and Modernity: Viollet-le-Duc at Vezelay (review)." Catholic Historical Review 87, no. 1 (2001): 111–12. http://dx.doi.org/10.1353/cat.2001.0007.

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28

Tarrío, Isabel. "Gothic Structural Theories Ca. 1930: The Contribution of Victor Sabouret." Advanced Materials Research 133-134 (October 2010): 137–42. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.137.

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In the second half of the 19th century, the French architect Viollet-le-Duc published his Dictionnaire raisonné de l’Architecture Française. In this work he proposes, for the first time, a rational theory about gothic structures based on the existence of “active” and “passive” elements: vaults are made of passive webs supported by active ribs; pinnacles contribute, in an active way, to the stability of the buttresses; flying buttresses transfer the load from the vault, etc. Until 1900 Viollet-le-Duc’s approach to the structural behaviour of gothic constructions was a dogma unanimously accepted by most architects, archaeologists and historians, but throughout the following two decades it became the object of harsh criticism. Discussion about the way gothic structures worked reached its climax at the end of the 1920’s, when the engineer Victor Sabouret published his first article against Viollet-le-Duc’s rationalist ideas, entitled Les voûtes d'arêtes nervurées. Rôle simplement décoratif des nervures. He specifically focused his discourse on the behaviour of vaults: on the decorative as opposed to structural or constructive function of the ribs. Although his arguments are mistaken and inaccurate in some aspects, he had an enormous influence over subsequent generations, and a large number of studies in the field were published throughout the years following this publication. Authors of such studies include Marcel Aubert, Henri Focillon and Henri Masson, whose publications revealed their disagreement with both theories, as well as Pol Abraham, who was in complete opposition to Viollet-le-Duc. In this paper, the Limit Analysis of the modern theory of masonry structures, formulated by J. Heyman in the 1960’s, is used to evaluate the accuracy and suitability of Sabouret’s criticisms to the rationalist theories.
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29

Witman, Richard, and Richard Wittman. "Félix Duban's Didactic Restoration of the Château de Blois: A History of France in Stone." Journal of the Society of Architectural Historians 55, no. 4 (December 1, 1996): 412–34. http://dx.doi.org/10.2307/991182.

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Félix Duban's restoration of the Château de Blois (1843-1870), one of the most ambitious and celebrated of the nineteenth century in France, has been neglected by historians more concerned with the restoration of medieval monuments and with the activity and influence of Eugène-Emmanuel Viollet-le-Duc. This study interprets some of Duban's archaeologically unjustified alterations to this complex monument in the light of the historicist architectural theory associated with Duban and the other Romantic architects Labrouste, Duc, and Vaudoyer. The château is an accretion of buildings from several centuries in a variety of styles, and Duban's restoration of the medieval segment, the Salle des États-Généraux, is shown to be particularly crucial. It emerges from this study that Duban was concerned to highlight specific, politically meaningful aspects of the long and rich history of the monument, and to illustrate the Romantics' views about the dependence of architectural style on the evolution of human society. Duban's restoration presents a sharp counterpoint to the idealist theories of restoration associated with Viollet-le-Duc, and shows that restoration could be a powerful polemical weapon. The reading presented here places the restored château in the thick of the theoretical conflicts that characterized contemporary architectural debate.
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30

Kåring, Göran. "Skilda tiders barn och mästare. Sidoblickar på Viollet‐le‐Duc." Konsthistorisk Tidskrift/Journal of Art History 67, no. 4 (January 1998): 263–68. http://dx.doi.org/10.1080/00233609808604472.

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31

Gilkerson, Ann. "Review: The Foundations of Architecture. Selections from the 'Dictionnaire raisonné' by Eugene-Emmanuel Viollet-Le-Duc, Kenneth D. Whitehead; The Architectural Theory of Viollet-le-Duc: Readings and Commentary by Eugene-Emmanuel Viollet-Le-Duc, M. F. Hearn." Journal of the Society of Architectural Historians 52, no. 2 (June 1, 1993): 237–38. http://dx.doi.org/10.2307/990796.

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32

O'Connell, Lauren M. "A Rational, National Architecture: Viollet-le-Duc's Modest Proposal for Russia." Journal of the Society of Architectural Historians 52, no. 4 (December 1, 1993): 436–52. http://dx.doi.org/10.2307/990867.

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Viollet-le-Duc earned a privileged place in the annals of modern architecture by elaborating a general theory that could respond flexibly to a variety of local traditions, cultural practices, and material resources. In 1877 he undertook to test this theory by applying it to an unfamiliar case-the architecture of Russia. The first study of its type to appear in the West, L'Art russe chronicled Russia's architectural past and predicted its future. The book touched a nationalist nerve in the Russian audience and engendered a heated debate in Russia about the nation's ethnic identity and architectural destiny. Analysis of the text and its critical reception will demonstrate the political timeliness of Viollet-le-Duc's argument for the eminent rationality of allowing national traditions, tastes, and resources to inspire the architect's design choices.
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33

HANYU, SHUJI. "A PROPOS DE LA THEORIE DE RESTAURATION CHEZ VIOLLET LE DUC." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 366 (1986): 124–31. http://dx.doi.org/10.3130/aijax.366.0_124.

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34

Recht, Roland. "Viollet-le-Duc et Gottfried Semper : leurs conceptions du patrimoine monumental." Revue germanique internationale, no. 13 (January 15, 2000): 155–68. http://dx.doi.org/10.4000/rgi.780.

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35

Recht, Roland. "Notre-Dame de Dijon ou le gothique revisité par Soufflot et Viollet-le-Duc." Comptes-rendus des séances de l année - Académie des inscriptions et belles-lettres 143, no. 2 (1999): 435–45. http://dx.doi.org/10.3406/crai.1999.16001.

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36

TOSUN, Çiler Buket. "Mimari Miras ve Koruma Alanında Bir Öncü Eugène Emmanuel Viollet-le-Duc." Journal of Turkish Studies Volume 16 Issue 7, Volume 16 Issue 7 (2021): 429–61. http://dx.doi.org/10.7827/turkishstudies.54792.

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37

Leniaud, Jean-Michel. "Une simple querelle de clocher ? Viollet-le-Duc à Saint-Denis (1846)." Revue de l'Art 101, no. 1 (1993): 17–28. http://dx.doi.org/10.3406/rvart.1993.348054.

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38

O'Connell, Lauren M. "Viollet-le-Duc on drawing, photography, and the ‘space outside the frame’." History of Photography 22, no. 2 (June 1998): 139–46. http://dx.doi.org/10.1080/03087298.1998.10443869.

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39

Murphy, Kevin D. "Architecture and the Historical Imagination: Eugène-Emmanuel Viollet-le-Duc 1814-1879." Journal of Architecture 20, no. 4 (July 4, 2015): 754–58. http://dx.doi.org/10.1080/13602365.2015.1076658.

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40

Cisternino, Alfredo. "Viollet-le-Duc et le rationalisme médiéval. Le regard d'un moderne. À propos de Pol Abraham." Livraisons d'histoire de l'architecture 9, no. 1 (2005): 53–71. http://dx.doi.org/10.3406/lha.2005.996.

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41

Barnes,, Carl F. "Light, Wind, and Structure: The Mystery of the Master Builders. Robert MarkThe Architectural Theory of Viollet-le-Duc: Readings and Commentary. Eugène-Emmanuel Viollet-le-Duc , M. F. Hearn." Isis 82, no. 4 (December 1991): 732–33. http://dx.doi.org/10.1086/355958.

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Davis, Charles L. "Viollet-le-Duc and the body: the metaphorical integrations of race and style in structural rationalism." Architectural Research Quarterly 14, no. 4 (December 2010): 341–48. http://dx.doi.org/10.1017/s1359135511000133.

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At first glance, it might seem counterintuitive to insist upon Eugène Emmanuel Viollet-le-Duc's (1814-79) critical interest in the human body as a metaphor for style in architecture. Not only did he oppose the anthropomorphic metaphors for style touted by Neo-Classical theorists at the École des Beaux-Arts, but he was most widely known in the nineteenth century for his preoccupation with the monumental and structural potential of modern materials such as iron. This reception of Viollet-le-Duc's thought persisted in the twentieth century with Sir John Summerson's estimation of Frank Lloyd Wright and Le Corbusier's debt to the constructive principles of his architectural organicism. Such accounts have made it possible to interpret construction and/or structure as the main ‘body’ of Viollet-le-Duc's architecture theory. However, this reading confuses the eclipse of Neo-Classical anthropomorphic metaphors for style - which translated the proportional relationships between the human body's constituent parts into a compositional system of design - with the complete eclipse of critical references to the human body in the French style debates of the nineteenth century. As we trace the role of the human body in Viollet-le-Duc's style theory, it becomes clear that the principles of human variation in biology and ethnography enabled him to account for the cultural variations of national peoples in his conception of style.
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Kerr, Greg. "Racialisation du discours dans l'Histoire de l'habitation humaine d'Eugène-Emmanuel Viollet-le-Duc." Romantisme 166, no. 4 (2014): 82. http://dx.doi.org/10.3917/rom.166.0082.

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Rioult, Jean-Jacques. "Ile-et-Vilaine. Un devis inédit de Viollet-le-Duc aux Archives départementales." Bulletin Monumental 145, no. 2 (1987): 205–6. http://dx.doi.org/10.3406/bulmo.1987.2925.

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Bressani, Martin. "Review: Memory and Modernity: Viollet-le-Duc at Vézelay by Kevin D. Murphy." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 552–54. http://dx.doi.org/10.2307/991636.

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HANYU, Shuji. "ON THE RESTORATION OF SAINT SERNIN CHURCH OF TOULOUSE BY VIOLLET LE DUC." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 424 (1991): 151–58. http://dx.doi.org/10.3130/aijax.424.0_151.

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Grisoni, Michela M. "Italian backgrounds. 1835-1837. Ruskin and Viollet-le-Duc’ early travels in Italy." Loggia, Arquitectura & Restauración, no. 35 (December 23, 2022): 8–27. http://dx.doi.org/10.4995/loggia.2022.17846.

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Comparing John Ruskin and Viollet-le-Duc to highlight their opposing approaches to protecting the past is frequent when reading about them and is indeed valid and effective. Here we take this approach, moving along with their travels in Italy which also have never been compared. Interpreting preservation as conservation and maintenance on one hand, or restoration and repair on the other are the opposing strategies upheld by these two authoritative figures in European cultural attitudes to restoration in the mid-19th century. Focusing on the 1830s, and their first visits to Italy implies grasping how their experience of architecture, landscape, and Italian society influenced their later reflections on conservation. The aim is to highlight the impact on contemporary and future generations of a concept of the ‘monument’ as a lasting object, that can be repaired and perfected, rather than a ‘live’ one, because it is marked by time, and conditioned by the nature of the places and local traditions.
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Timbert, Arnaud. "Reconstruire Vézelay et restaurer la Bourgogne : le choix des matériaux chez E.-E. Viollet-le-Duc." Livraisons d histoire de l architecture, no. 16 (December 10, 2008): 87–108. http://dx.doi.org/10.4000/lha.186.

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Loerke, William C. "A Rereading of the Interior Elevation of Hadrian's Rotunda." Journal of the Society of Architectural Historians 49, no. 1 (March 1, 1990): 22–43. http://dx.doi.org/10.2307/990497.

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The Pantheon, in particular the interior of the Rotunda, has posed a paradox: unrestrained praise for its overall effect; severe criticism for its interior elevation. The criticisms were rooted in a Renaissance perception of Roman imperial architecture, a perception based too heavily on a Vitruvian view of Hellenistic trabeate architectural design, largely irrelevant to the Rotunda. This view of the critiques of San Gallo the Younger, Michelangelo, Desgodetz, and Viollet-le-Duc leads one to the Roman aims of the Roman architect who designed this interior. I wish to show how the Hadrianic state of the Rotunda may be taken as a projection of the Roman idea of the templum mundi.
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Emery, Elizabeth. "Meubles: The Ever Mobile Middle Ages." Medieval Globe 6, no. 1 (2020): 121–54. http://dx.doi.org/10.17302/tmg.6-1.6.

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Medieval furnishings preserved in aristocratic estates and ecclesiastical institutions took on new life in the nineteenth century as the turmoil of the French Revolution reactivated their use value, transforming them into collectibles, fuel, or raw materials for new building projects. This essay relies on the taxonomies of reuse proposed by archaeologist Michael Schiffer to evaluate the preservation, recycling, and repurposing of objects such as medieval choir stalls, chests, and beds by conservators, architects, artists, and collectors Alexandre Du Sommerard, Eugène-Emmanuel Viollet-le-Duc, Albert Jacquemart, Victor Hugo, Pierre Loti, and Frédéric Spitzer. These prominent figures' repurposing of antique furniture mirrors nineteenth-century constructions of the medieval period itself.
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