Articles de revues : « 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, n^o 2 (octobre 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, n^o 937 (septembre 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, n^o 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, et 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in close touch with the French architect and agriculturalist François Cointereaux (1740–1830), as is proven by several unpublished letters written by each of them.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, n^o 9 (27 décembre 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, n^o 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, n^o 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, n^o 3 (septembre 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, n^o 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, n^o 3 (15 septembre 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.

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Murphy, Kevin D. « The Villa Savoye and the Modernist Historic Monument ». Journal of the Society of Architectural Historians 61, n^o 1 (1 mars 2002) : 68–89. http://dx.doi.org/10.2307/991812.

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This article argues that the debate over the fate of Le Corbusier's Villa Savoye (1928-1931) in Poissy, France-which was in derelict condition by the 1950s-occasioned an international reconsideration of the architect's work as well as a reconsideration of the French architectural patrimony. The author argues that, while the house has been discussed since the time of its completion in largely formal terms, more recent scholarship has opened up the debate on the material circumstances of its construction and the ideological implications of its design. As part of this new perspective, it is important to understand the house not simply as a universally applicable design solution by its architect, but as an object that was altered and restored in response to changing perceptions of Le Corbusier and his work. The process by which the Villa Savoye was preserved, restored, and established as an official historic monument of the French state, between c. 1958 and 1967, brought about a reconceptualization of modernist architecture and of the historic monument in France. Modernist architecture, including the Villa Savoye, was incorporated during the postwar period into a celebratory cultural history of France. Among government administrators who participated in this process was André Malraux, who in the postwar period attempted to reconstruct France's international prestige on the basis of its cultural production. Prodded into action on behalf of the Villa Savoye by architects, critics, and scholars around the world, as well as by an exhibition at the Museum of Modern Art in New York, Malraux finally acknowledged that the work of Le Corbusier could be admitted into the corpus of monuments on which French identity was to be built.

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Lavin, Sylvia, Antoine Picon et Martin Thom. « French Architects and Engineers in the Age of the Englightenment. » American Historical Review 99, n^o 1 (février 1994) : 245. http://dx.doi.org/10.2307/2166247.

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Sampayo, Mafalda. « French Influence on Portuguese Architects in the Age of Enlightenment ». IOP Conference Series : Materials Science and Engineering 245 (octobre 2017) : 052059. http://dx.doi.org/10.1088/1757-899x/245/5/052059.

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André-Olivier, Florence, Vaiva Deveikienė et Steponas Deveikis. « HERITAGE CREATED BY EDOUARD ANDRÉ IN THE CONTEXT OF URBAN DEVELOPMENT OF VILNIUS CITY ». JOURNAL OF ARCHITECTURE AND URBANISM 30, n^o 1 (31 mars 2006) : 38–46. http://dx.doi.org/10.3846/13921630.2006.10697060.

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Cultural and natural heritage in the vicinity of Vilnius, 3 parks at Lentvaris, Trakų Vokė and Užutrakis created by French landscape architects Edouard André and René André in 1898–1900 is very important for Vilnius city development.

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Vidler, Anthony. « Book Review : French Architects and Engineers in the Age of Enlightenment ». Eighteenth-Century Studies 29, n^o 2 (1995) : 240–42. http://dx.doi.org/10.1353/ecs.1996.0004.

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Verdugo Lamarche, Claudio. « Un arquitecto de origen español ». Aldaba, n^o 40 (15 décembre 2017) : 235. http://dx.doi.org/10.5944/aldaba.40.2015.20559.

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Un arquitecto de origen español, Claudio Verdugo Lamarche, es una reflexión autobiográfica que recorre la vida profesional de un arquitecto español, nacido en Casablanca y de formación francesa, y que intenta profundizar en la propia profesión del arquitecto. El texto refleja los objetivos y valores de este profesional y consigue establecer un hilo no sólo cronológico, sino ético a lo largo de una dilatada trayectoria por los cuatro continentes. Destaca su participación activa en los Congresos Internacional de Arquitectura, siendo miembro destacado de la Unión Internacional de Arquitectos.An architect of Spanish origin, Claudio Verdugo Lamarche, it is a autobiographical reflection that goes through the professional life of a Spanish architect who was born in Casablanca and of French training, he tries to go in depth in the own architect profession. The text shows the aims and values of this professional, it also manages to establish a thread not only chronologically but ethically along an extensive trajectory for four continents. His active participation in international congresses of architecture is remarkable, being a distinguished member of the Architects’ International Union.

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Duda, Michalina, Sławomir Jóźwiak et Marcin Wiewióra. « French Architects, Builders, Stone Masons and Sculptors in Latin Europe in the latter Thirteenth Century ». Res Gestae 8 (26 novembre 2019) : 22–49. http://dx.doi.org/10.24917/24504475.8.2.

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The article concerned the issue of French architects, builders, stone masons and sculptors in Latin Europe in the latter thirteenth century. The authors presented the travels and activities in Europe of Pierre d’Angicourt, Pierre de Chaule, Jean de Toul, and Étienne de Bonneuil. The heart of the analysis conducted in the article is an attempt to state the extent of the participation of architects, builders, stonemasons and sculptors from the territory of present-day France in the process in the latter half of the thirteenth century. It is worth noting that the topic is analyzed in view of written sources from the epoch, which are often disregarded in similar studies.

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Levin, Ayala. « Haile Selassie's Imperial Modernity : Expatriate Architects and the Shaping of Addis Ababa ». Journal of the Society of Architectural Historians 75, n^o 4 (1 décembre 2016) : 447–68. http://dx.doi.org/10.1525/jsah.2016.75.4.447.

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In the 1960s, Addis Ababa experienced a construction boom, spurred by its new international stature as the seat of both the United Nations Economic Commission for Africa and the Organization of African Unity. Working closely with Emperor Haile Selassie, expatriate architects played a major role in shaping the Ethiopian capital as a symbol of an African modernity in continuity with tradition. Haile Selassie's Imperial Modernity: Expatriate Architects and the Shaping of Addis Ababa examines how a distinct Ethiopian modernity was negotiated through various borrowings from the past, including Italian colonial planning, both at the scale of the individual building and at the scale of the city. Focusing on public buildings designed by Italian Eritrean Arturo Mezzedimi, French Henri Chomette, and the partnership of Israeli Zalman Enav and Ethiopian Michael Tedros, Ayala Levin critically explores how international architects confronted the challenges of mediating Haile Selassie's vision of an imperial modernity.

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Fountoulakis, Olga. « Leo von Klenzes Konzept für die Gestaltung des Hauptmarktes von Athen ». Architectura 47, n^o 1-2 (24 juillet 2019) : 74–91. http://dx.doi.org/10.1515/atc-2017-0005.

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AbstractThe architect Leo von Klenze was invited by the Greek government to modify the map of Athens of the architects Stamatios Kleanthes and Eduard Schaubert in 1834. One of Klenze’s major modifications concerns the separation of the market area into a commercial and an amusement part. Our recently conducted research in Greek archives brought to light documents which reveal an unknown contribution of Klenze in the establishment of a modern market in the center of Athens. The market of Athens would have included stores, apartments, green areas and a fountain and would have been realized by the French entrepreneur François Théophile Feraldi. Klenze designed a three-story building type for the stores and the apartments in Italian style. The government would have bought the building ground from private owners at a low price and would have sold it to Feraldi at the same price. The market center was finally not realized, but the drawing, which, on the basis of the new archive material, can be clearly attributed to Klenze, shows how Klenze had imagined the architectural form of the private buildings in Athens. Another novelty our research brought to light and which is discussed in our paper is a concept of the section of architects for the central market of Athens, submitted one year later, which was not implemented either.

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Guttman, Renata. « Architecture in Canada : French-language publishing, 1981-1995 ». Art Libraries Journal 21, n^o 3 (1996) : 4–28. http://dx.doi.org/10.1017/s0307472200009949.

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Interest in Canada’s built heritage flourished in the period following 1967, inspired by the centennial of Confederation and institutional support of heritage research. An already vibrant and officially sanctioned concern for cultural history in Canada’s mainly Francophone province Quebec and the Official Languages Act of 1969 resulted in a rich series of French-language publications devoted to Canadian architecture. The architecture of provinces, cities and towns, of individual styles, buildings and architects, architectural competitions and archaeology have all been explored in the literature. The contribution of scholars, cultural, academic, and governmental institutions, and publishers has created a strong body of work related to architecture in Canada.

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Freyssinet, Eugène. « On the sublime ». Architectural Research Quarterly 5, n^o 3 (septembre 2001) : 249–53. http://dx.doi.org/10.1017/s1359135501001294.

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Engineer-designed structures often attract the admiration of architects. The work of Freyssinet and Maillart and, more recently, Rice and Calatrava has been admired in this way. Few of these engineers have written about their work – but Freyssinet did, with great eloquence. Here, Andrew Saint introduces his translation of a particularly revealing essay by the great French engineer.

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Manuireva, Ena. « REVIEW : Moruroa Files : The files, the book and the lies ». Pacific Journalism Review : Te Koakoa 27, n^o 1and2 (30 septembre 2021) : 297–300. http://dx.doi.org/10.24135/pjr.v27i1and2.1183.

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Toxique: Enquête sur les essais nucléaires français en Polynésie, by Sébastien Philippe and Tomas Statius, and the Moruroa Files microsite. Paris: PUF/Disclose, 2021. 192 pages. ISBN 9782130814849https://moruroa-files.org/ THE COMBINATION of nuclear expertise (Sebastien Philippe), inquisitive journalism (Tomas Statius) and the investigative approach by Interprt (a collective of architects specialising in the forensic analysis of environmental crimes) of around 2000 declassified French government documents in 2013 called the Moruroa Files, resulted in the explosive book Toxic about what was already known to the Ma’ohi Nui (French Polynesia) people. That since 1966 (55 years ago), the French government has consistently lied about and concealed the deadly consequences of their nuclear tests, which they now seem to acknowledge (French admit nuclear test fall out, 2006), to the health of the populations and their environment.

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Cellauro, Louis, et Gilbert Richaud. « François Cointereaux’s École d’ Architecture Rurale (1790-91) and its Influence in Europe and the Colonies ». Architectural History 49 (2006) : 129–48. http://dx.doi.org/10.1017/s0066622x00002732.

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This article continues from our previous article on François Cointereaux, published in this journal last year. The aim of this second article is to cast light on the dissemination of the technique of pisé, as perfected by this French agriculturalist and architect, in Europe and its colonies. Although Cointereaux is considered today a minor eighteenth-century architect, the fascicles (cahiers) of his École d’Architecture Rurale were translated shortly after their publication in Paris in 1790–91 into six languages (German, Russian, Danish, English, Finnish, and Italian); these in turn attracted the interest of major architects such as Henry Holland (1745-1806) in England, David Gilly (1748-1808) in Germany, and Nicolai L’vov (1751-1803) in Russia, who founded a school of earth construction in Tiukhili near Moscow based on those of Cointereaux in Paris. Through his publications, Cointereaux generated, at the end of the eighteenth century, an almost universal interest in this vernacular material that was both cheap and abundant. His influence outside France was indeed significant, especially in Europe, where many leading architects used pisé for rural and residential buildings. The sudden interest in this vernacular technique, coinciding with the neo-classical age in revolutionary France and in Europe, might seem surprising. Doubtless this success can largely be explained by a desire to revive rural architecture, as well as by the cheap price of the material and its incombustibility. Although we have no means of assessing the number of pupils who attended Cointereaux’s schools, we do know that there were many visitors, notably foreign ones. In the period 1790–95, they were attracted by the novelty of the material and by his demonstrations of its application; this facilitated the wider dissemination of pisé architecture in Europe, North America and Australasia in 1795–1840.

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Дорофеенко, Марина. « Имена деятелей культуры в урбанонимии Беларуси и Франции ». Studia Wschodniosłowiańskie 20 (2020) : 199–206. http://dx.doi.org/10.15290/sw.2020.20.14.

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In the article anthroponymic urbanonyms of Vitebsk and Reims derived from the names of artists are analyzed. The main lexico-semantic groups of these proper names have been established: urbanonyms, formed from the names of writers, poets, literary critics; artists, architects, sculptors; actors, directors, playwrights; musicians, composers. Similarities and differences in the functioning of Belarusian and French urbanonyms, given in honor of artists, have been revealed.

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Klein, Richard. « The Delcourt House : the last house by Richard Neutra ». Modern Houses, n^o 64 (2021) : 50–57. http://dx.doi.org/10.52200/64.a.7bzrgwww.

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The only French building by the architect Richard Neutra (1892-1970), Delcourt house, built in Croix near Roubaix, France, is frequently forgotten in publications on his work, and is generally considered to be of little significance in the largely American career of its designer. At the end of the 1960s, Marcel Delcourt (1923-2016), a young Chief Executive Officer at the head of the mail order company Les Trois Suisses, was attracted to the American way of life. As the final work of Richard Neutra, the Delcourt residence is a fragile heritage, the result of complex and fruitful exchanges between Europe and the United States of America (USA), between architects and the client, but also between the customized design of most of the features and the use of sophisticated techniques, products that the interior finish industry was able to supply at the end of the 1960s. The edifice now stands as a repository of domestic architecture techniques.

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Nguyen, Martina Thucnhi. « French Colonial State, Vietnamese Civil Society ». Journal of Vietnamese Studies 11, n^o 3-4 (2016) : 17–57. http://dx.doi.org/10.1525/jvs.2016.11.3-4.17.

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In 1937, leading members of the Self-Strength Literary Group [Tự Lực Văn Đoàn], together with a number of Hà Nội’s Western-educated architects and intellectuals, founded the League of Light [Hội Ánh Sáng or Đoàn Ánh Sáng] to combat unsanitary housing. This study traces the league’s brief history, from its inception in December 1936 to its gradual demise sometime in the early 1940s. It argues that the leaders of the League of Light were interested in more than simply improving the living conditions of impoverished Vietnamese; they aspired to carve out a pluralistic public space for civic collective action, where one had barely existed before. For the peasant masses, the league wanted to change how they thought and behaved by manipulating the physical space in which they lived. For educated urban elites, their participation in the organization served to generate modern ideas of community, civic duty, and social responsibility. Through the restructuring and regulation of everyday life, the league’s founders aspired to shape social order through the establishment of a Vietnamese civil society.

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Charitonidou, Marianna. « Travel to Greece and Polychromy in the 19th Century : Mutations of Ideals of Beauty and Greek Antiquities ». Heritage 5, n^o 2 (19 mai 2022) : 1050–66. http://dx.doi.org/10.3390/heritage5020057.

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The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities.

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Prieto López, Juan Ignacio. « Jacques Polieri : Kinetic Theatre Space ». VLC arquitectura. Research Journal 2, n^o 2 (29 octobre 2015) : 31. http://dx.doi.org/10.4995/vlc.2015.3835.

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Between the First and Second World War the definition of the new type of theater building was one of the main tasks of the European Avantgarde. In its design and theoretical formulation were poets, playwrights, theater directors, architects, painters, actors, engineers… from different countries and art movements. Despite the collaboration of the leading members of the Avant-garde like Marinetti, Moholy-Nagy, Kiesler, El Lissitzky, Gropius… none of these proposals were built because of their radical and utopian characteristics. It was a young French theater director, Jacques Polieri, who became the main compiler and prompter of those proposals in postwar Europe in two issues of the French journal Aujourd´hui, art et architecture. The first of them published in May 1958, under the title “Cinquante ans de recherches dans le spectacle” collected the most important experiences in theory, scenography, technic, and theater architecture in the interwar period. Polieri worked with different architects in several projects for theater buildings, whose main feature was the mobility of all their elements and components, trying to get a dynamic experience during the performance. Those proposals related to Kinetic Art, were published in a second issue of Aujourd´hui, art et architecture entitled “Scénographie Nouvelle” in October 1963.

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Cattaneo, Daniela Alejandra, et Jimena Paula Cutruneo. « “THE OUTSIDE IS ALWAYS AN INSIDE” : THE IDEA OF SPACE AND ITS THEORETICAL HERITAGE IN “TOWARD AN ARCHITECTURE” ». Journal of Architecture and Urbanism 40, n^o 3 (25 septembre 2016) : 250–58. http://dx.doi.org/10.3846/20297955.2016.1210049.

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The article proposes to delve deeper in the idea of space in Le Corbusier’s Toward an Architecture (1923), focalizing in its connections with the past and urban design. When in his book Le Corbusier presents his “trois rappels a messieurs les architectes” – volume, surface and plan (in its broad sense) – he outlines the keys to his idea of space. It proves imperative to use Le Corbusier’s original term “Rappel” as its word play transcends any possible translation. Space is therefore defined as a Rappel (call) to architects, but also as a Rappel (reminder, evocation) to multiple theorizations and ideas that have traversed architecture throughout history. Le Corbusier’s argument understands the directions of space as an extension, showing his affiliation with a tradition of French thinking that, in architecture, subscribes since Viollet le Duc to the Cartesian Method, in which spatiality is understood – from the Barroque – both Outside and Inside. It is proven that, in clear continuity with French architectural tradition and drawing inspiration from the ideas of Auguste Choisy, Le Corbusier defines with the mass and the void a space in which “the Outside is always an Inside”. Thus, it is demonstrated that not only the links with the past but also the material resources for the definition of such space are common in different scales, from the definition of an inside up to the urban design.

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Magouliotis, Nikos. « French architects and ‘églises grecques’ : the discovery of byzantine architecture in Greece, 1820s–1840s ». Journal of Architecture 25, n^o 8 (16 novembre 2020) : 1028–54. http://dx.doi.org/10.1080/13602365.2020.1849355.

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Hristova, Valentina. « La première œuvre collective de l’Académie de France à Rome : un apparat éphémère pour la guérison de Louis XIV* ». Zeitschrift für Kunstgeschichte 85, n^o 4 (23 novembre 2022) : 498–519. http://dx.doi.org/10.1515/zkg-2022-4005.

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Abstract This article focuses on the ephemeral, multimedia façade for the French Academy commemorating the recovery of Louis XIV from illness. Known only through an engraved print, this installation seems tobe the first – and perhaps the only – tangible manifestation of the collective work carried out by French architects, sculptors, and painters resident in Rome during the second half of the seventeenth century. The aim is to demonstrate that, in addition to constituting a precious reservoir of visual references, whose correct understanding depends on an archaeological study of the ancient and modern repertoires, this apparatus imposes itself as an ambitious project of political mediation at a particular moment in the history of the Kingdom of France.

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Kimm, Jong Soung. « The Legacy of Mies van der Rohe in Modern Movement and the Modern Architecture in Korea ». Reuse, Renovation and Restoration, n^o 52 (2015) : 4–9. http://dx.doi.org/10.52200/52.a.rwd0uw0t.

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The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.

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Duda, Michalina, Sławomir Jóźwiak et Marcin Wiewióra. « Did French Architects, Builders, Stonemasons, and Sculptors Operate in the Hungarian Kingdom in the Second Half of the 12th Century and in the 13th Century ? » Mediaevistik 31, n^o 1 (1 janvier 2018) : 115–32. http://dx.doi.org/10.3726/med.2018.1.07.

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Abstract Thanks to the wide use of the fruits of interdisciplinary research (history, archaeology, and art history) and a thorough analysis of written and architectural sources, it can be clearly demonstrated that, from at least as early as the end of the 12th century, architects, builders, stonemasons and probably also sculptors from what is now northern and eastern France were operating in the Kingdom of Hungary (though it is not known to what extent). It is impossible not to see a correlation between their activity and the very early appearance of the Gothic style in the territory of what was then Hungary. The architect–builder–designer–sketcher Villard de Honnecourt of Picardy, northern France, and his stay on the shores of the Danube are of particular interest. He was there most probably in the 1220s, but it is unfortunately difficult to say for certain which of the edifices he worked on considering those that were erected at the time in the Kingdom of Hungary.

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O'Rourke, Kathryn E. « Guardians of Their Own Health ». Journal of the Society of Architectural Historians 71, n^o 1 (1 mars 2012) : 60–77. http://dx.doi.org/10.1525/jsah.2012.71.1.60.

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José Villagrán García's Tuberculosis Sanatorium at Huipulco (1929–36), outside of Mexico City, was one of Mexico's first important modern buildings. Commissioned by the federal government and designed to cure and transform the Mexican working class, the project reflected its architect's pioneering integration of architectural rationalism, Julien Guadet's theories, and the reform ambitions of the Mexican government. At Huipulco, Villagrán also referenced established sanatorium design as a means of visually associating Mexican architecture and medicine with admired European practices in both fields. In Guardians of Their Own Health: Tuberculosis, Rationalism, and Reform in Modern Mexico, Kathryn E. O'Rourke argues that understood in the context of Mexican social policy and compared to buildings by Guadet's famous student Auguste Perret, the Huipulco Sanatorium reveals the reach of French rationalism and the complex genesis of modern architecture in Mexico. Its story helps to historicize and particularize the International Style within histories of modern architecture and open further the question of how modern architecture was understood by architects working beyond European centers.

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Vassiliev, Nikolai. « Line Formation ». проект байкал 19, n^o 72 (31 juillet 2022) : 58–65. http://dx.doi.org/10.51461/projectbaikal.72.1979.

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The article is devoted to the features and origins of Nikolay Milyutin’s urban planning theory. Written long before the completion of his formal education, his book “Socialist city” became extremely popular among the planners and architects of the 20th century, but the real extent of his contribution to the practice of building new cities, as well as the impact on subsequent developments have not yet been fully measured. Milyutin himself was quite familiar with the urban planning thought of his time thanks not only to his communication with Le Corbusier, but also to his books, primarily in French. Whereas Vladimir Semyonov was a conductor of the English urban planning thought in Russia and the USSR, Milyutin was a conductor of the French and Spanish ones.

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Michel, Anne-Sophie. « Une communauté d’artistes et d’artisans français à l’étranger : Le cas des sculpteurs au château royal de Stockholm au XVIIIe siècle ». 1700-tal : Nordic Journal for Eighteenth-Century Studies 12 (5 novembre 2015) : 117–31. http://dx.doi.org/10.7557/4.3528.

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A Community of French Artists and Craftsmen Abroad: A Case Study of theSculptors of the Royal Palace of Stockholm in the Eighteenth Century Following the approach of Linda Hinners’s research, this article comprises a study of French sculptors who worked on the construction of Stockholm’s royal palace in the eighteenth century. Indeed, between 1732 and 1765, the superintendent of royal buildings had recruited, through the action of social networks, thirty French sculptors. To encourage them to leave France, the superintendent offered them very attractive conditions of life and work, and the prospects of a career. Once there, these sculptors created the royal palace decoration from the sketches of the Swedish architects. Beyond their artistic ability, the Swedes utilized their great experience of construction work and technical know-how. Soon, they took over the management of the sculpture works and training of young Swedish craftsmen present on the site. With the recruitment of French experts, the Swedes therefore had skilled and knowledgeable work teams, which created autonomous production workshops. These latter also underwent a modernization process induced by the creation of the Superintendence of royal buildings and the Swedish Royal Academy. Thus, the French appear to have been the actors of a modern artistic policy that allowed Sweden to utilize the French aesthetic model.

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Coman, Viorel. « Vladimir Lossky’s Involvement in the Dieu Vivant Circle and its Ecumenical Journal ». Irish Theological Quarterly 85, n^o 1 (4 décembre 2019) : 45–63. http://dx.doi.org/10.1177/0021140019889211.

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Vladimir Lossky’s theology has been extensively studied by scholars but his commitment to ecumenism still remains an insufficiently researched domain. This article fills this lacuna by shedding light on an important chapter of Lossky’s ecumenical activity: his involvement in the Parisian Dieu Vivant circle and its ecumenical journal. The article argues that Lossky’s editorial work for the Dieu Vivant journal represents an important episode of the ecumenical interactions between the representatives of the Orthodox Neo-Patristic movement and the architects of the French Catholic Ressourcement. Moreover, Lossky’s willingness to be a member of the editorial board of the Dieu Vivant journal cannot be understood apart from the affinity which existed between his theological vision and the agenda of the French periodical: the priority of the eschatological consciousness of Christianity.

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Sebregondi, Giulia Ceriani. « “Ars sine scientia” or rather “Ars sine geometria” ? The debate of 1400 on the elevation of Milan cathedral ». Resourceedings 2, n^o 3 (12 novembre 2019) : 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.

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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.

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Walid, Benaissa. « THE SPECIFICS OF THE FORMATION OF MODERN ARCHITECTURAL EDUCATION IN ALGERIA ». Architectural Bulletin of KNUCA, n^o 22-23 (12 décembre 2021) : 71–77. http://dx.doi.org/10.32347/2519-8661.2021.22-23.71-77.

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The process of formation of a modern architectural school in Algeria, which took place during the last third of the 19th and 20th centuries, and led to the emergence of new approaches and principles in the field of its application, is considered. The article presents the results of a historical analysis of the evolution of the educational model of Algeria in the field of architecture, which depended on the political and socio-cultural influence of the metropolis on the development of the architectural knowledge of the colonial region. The author also considers the paths along which the formation of architectural education and its formation at the beginning of the 20th century took place during the late 19th century. It is analyzed that the training of Algerian architects during the French colonization took place within the local culture, which affected the further independent direction of the development of the architectural school of Algeria. It is analyzed that the architectural education of Algeria since the signing of the Evian Agreements is associated with the nature of the activities of architects and the expectations from their preparation, a combination of artistic ability and constructive technical knowledge. The article examines the influence of modernism as a social project, reflecting the advanced social reformist ideas of its time, on the rethinking of the professional training of architects in Algeria. The contribution of the leading representatives of modernist architecture to the renewal of the artistic language of architecture in Algeria is also considered: the social attitudes of modernist architects contributed to the principled attitude towards novelty in architecture and architectural education.

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PORUMB, Andra-Teodora, Rodica BOGDAN, Adina SĂCARA-ONITA et Cristian PORUMB. « TYPES DE RÉMUNÉRATION DU TRAVAIL INDÉPENDANT (ÉTUDE COMPARATIVE FRANÇAIS-ROUMAIN) / TYPES OF COMPENSATION OF INDEPENDENT WORK (FRENCH-ROMANIAN COMPARATIVE STUDY) ». Annals of the University of Oradea. Economic Sciences 31, n^o 31(1) (15 juillet 2022) : 333–46. http://dx.doi.org/10.47535/1991auoes31(1)032.

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The article offers a contrastive analysis of the terms referring to the compensation for work performed by people who obtain income from the liberal professions, highlighting the complexity and diversity of these terms in French, a consequence of a legal system with a long tradition. The affinities related to the common origin of the two languages (French and Romanian), the legal systems based on Roman law, the cultural influence that France has always exercised, the fact that Romania adopted the French Civil Code in the 19th century are just as many reasons why there is an important number of equivalent terms in Romanian language. Based on a corpus of examples extracted from the civil code, the labor code, the commercial code and the deontological codes of the different categories of freelancers (lawyers, notaries, accountants, doctors, architects) and their translation into Romanian we will indicate possible equivalences and show that the selection of the appropriate term is made according to several factors, such as the level of language (legal / common) or the professional categories involved.

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Klein, Richard. « The Cité de l’Etoile, Bobigny, 1956–1963, Georges Candilis, Alexis Josic, Shadrach Woods Architects ». Housing Reloaded, n^o 54 (2016) : 22–27. http://dx.doi.org/10.52200/54.a.eifinc14.

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The Cité de l’Etoile, in Bobigny, design by Candilis Josic and Woods (1954–1963) is one of the housing estates, results of the french national competition named opération Million. Commissioned by Emmaüs, the 737 homes are a kind of synthesis of the experiments of Candilis in Marocco and the city planning thinking of the team. The demolition planned in 2008 has been avoided and the Cité de l’Etoile has been labelled 20th century heritage. The rehabilitation project brings to light the contradictions of an highly conflicting situation. Between blind demolition and a well-thought out project of restoration the question of the safeguard of collective social housing complex of the second half of the 20th century is still waiting solutions.

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Ghosh, Nabaparna. « MODERN DESIGNS : HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH ». Journal of Architecture and Urbanism 40, n^o 3 (25 septembre 2016) : 220–28. http://dx.doi.org/10.3846/20297955.2016.1210048.

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Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.

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Field, Cynthia R., et Jeffrey T. Tilman. « Creating a Model for the National Mall : The Design of the National Museum of Natural History ». Journal of the Society of Architectural Historians 63, n^o 1 (1 mars 2004) : 52–73. http://dx.doi.org/10.2307/4127992.

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The story of the design of the Smithsonian Institution's National Museum of Natural History belies its quietly restrained appearance. The building's architects, Hornblower & Marshall, were not responsible for the prominent Mall façade of the museum and its low Roman dome; rather, these were a secret effort of Charles Follen McKim, who, in turn, asked Daniel II. Burnham to add his ideas to the final composition. This history is entwined with McKim and Burnham's work on the Senate Park Commission (McMillan) plan of 1902. For them, the museum represented the model for all the buildings to be erected on the new National Mall. Although functional needs were an important part of the dialogue, Hornblower & Marshall and McKim and Burnham were most concerned with identifying the appropriate character for the new structure, the former admiring modern French style, the latter advocating a Roman Revival aesthetic. The finished building, the work of all these hands, demonstrates that many practicing architects at the turn of the century valued compromise and collaboration as least as much as they did creativity and independence.

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Efimova, Elena A. « Rome Оut of Borders : The French Architects in Rome in the Middle of the 16th Century ». Actual Problems of Theory and History of Art 9 (2019) : 651–67. http://dx.doi.org/10.18688/aa199-5-59.

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Monnot, Suzanne. « Vernacular Architecture in Armenia, from Travelers' Accounts, in the Western Context, from the 17th Century to the Present Day ». Journal of Architectural and Engineering Research 2 (29 juin 2022) : 59–70. http://dx.doi.org/10.54338/27382656-2022.2-009.

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The corpus of accounts by European travelers who visited Armenia (Fig. 1), extracted from A. Marouti's research, as well as various writings by authors - Armenian architects during the Russian then Soviet period - will serve as a starting point for this research. Its objective is to put two questions in parallel: what consideration of vernacular constructions as genuine architectures in Armenia; and how this interest is situated about these architectures in the West. Using the Timelines tool, a chronological comparison ("side by side" in French) allows us to identify Soghomon Vardanian as a precursor to the recognition of the vernacular.

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Genova, Irina. « “Give Me Walls!” Impact of the French Artistic Experience on Mural Arts in Bulgaria in the 1960s and Early 1970s ». Visual Studies 6, n^o 3 (13 décembre 2022) : 241–55. http://dx.doi.org/10.54664/ulxq2013.

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After the devastation caused by the Second World War, in Bulgaria and elsewhere in Europe, the new construction of public architectural sites opened up a wide field for artistic integration (murals, mosaics, relief compositions of different materials, etc.). In Bulgaria, architects and artists carried out their projects under a communist rule and a centralized state system of commissioning. East of the Iron Curtain, the positive official attitude towards French leftist artists of various ideological wings (like Pablo Picasso, Fernand Léger, Jean Lurçat, Robert Delaunay, etc.), was motivated by their association with the anti-fascist resistance and, in some cases, with the Soviet Union, even though specific works and periods of the same artists were dismissed as formalist. The article discusses the recognition of the work of French mural artists on the part of the post-war generation of monumentalists in Bulgaria, including Yoan Leviev, Georgi Bozhilov – Slona (the Elephant), Dimitar Kirov, and others. The focus is on Henri Matisse and Fernand Léger.

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Moghaddasi, Ahmad, Mohammad Hossein Moghaddasi et Hosein Kalantari Khalilabad. « MOHSEN FOROUGHI (1907–1983) : THOUGHTS AND SUSTAINABILITY IN THE WORKS OF AN IRANIAN MODERNIST ARCHITECT ». Architecture and Engineering 5, n^o 4 (2020) : 28–34. http://dx.doi.org/10.23968/2500-0055-2020-5-4-28-34.

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Introduction: Mohsen Foroughi was one of the first-generation Iranian modernist architects who joined Iranian architecture in the 1940s. His knowledge of architecture obtained in one of the most important French architectural schools—École des Beaux-Arts—allowed him to create valuable works by combining the spirit of Iranian architecture with modern values. His interest in education led to the establishment of the foundations of architecture teaching in Iran, based on the lessons taught in Europe. Purpose of the study: The article addresses the works of Mohsen Foroughi, combining modern architecture with the vernacular Iranian architecture. His most significant works include the building of the Senate, the Department of Law at the University of Tehran, the National Bank of Tehran’s Bazaar, and the Saadi Tomb in Shiraz. The article looks at the development of intellectual flows of the time that evolved into social relationships. Methods: In the course of the study, we use descriptive analysis and analysis of library resources. Results: The main characteristics of Foroughi’s work are balance, symmetry, and application of the main elements of traditional Iranian architecture. By better understanding of his works, architects can be more successful in creating today’s architectural projects.

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Emery, Elizabeth. « Meubles : The Ever Mobile Middle Ages ». Medieval Globe 6, n^o 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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Harrington, Christine B., et John Brigham. « Coming Home ». Law & ; Social Inquiry 19, n^o 03 (1994) : 599–603. http://dx.doi.org/10.1111/j.1747-4469.1994.tb00772.x.

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Ever since the formation of an academic bar, one which left the “practical world” of apprentices and clerkships barely 100 years ago, the architects of law's intellectual life have looked outside the canons of lawyers' law to academic life and its deep thinkers for stimulation. From the German social scientists of Pound's time to Foucault in our own, the erotica of the legal academy have often been drawn from French and German philosophers and social theorists. There may be, in fact, a pattern to this inclination in America to draw insights from the “wild passion” of the French or the “dark terror” of the Germans. There is certainly an ongoing effort to avoid England in both its commonness and its construction of the “savage” or the ethnographically primitive “other” on which English law based its authority for so long. American sociolegal intellectuals, as part of the legal academy, crave a hit of the “other” on the continent of Europe, having denuded the American forests of its native occupants.

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Al Shihabi, Diane Viegut. « American Beaux-Arts Architects and The Decoration of Houses : Elucidating French Academic Influences for a Seminal Literary Work ». Journal of Interior Design 40, n^o 3 (septembre 2015) : 39–60. http://dx.doi.org/10.1111/joid.12049.

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Articles de revues sur le sujet « French architects »

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