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Preliminary procedures to the reuse of the seats of justice: parallelism France-Italy
No full textThe French Ministry of Justice has launched a little over a decade, an operation of alienation of its extensive judiciary heritage. What is striking is the intended use allocated to these abandoned buildings. The most unusual case of atypical reuse is definitely one of the court of Nantes, recently transformed into a luxury hotel. While some of the architectural features of the judicial type have been betrayed, the quality of the operation has been properly controlled through extensive preliminary studies.
A decade ago, a hypothesis of similar transformation has been proposed for the Courthouse in Milan (built by Piacentini), because of the project to transfer the courts to the district of “Porto di Mare”. But in this case, it seems that the new use – a great hotel – wasn’t the result of a thorough analysis of the possible enhancements of the building.
The paper aims to reflect on the cases of disposal and atypical reuse of court buildings and on the procedures adopted by public authorities to identify the most appropriate ways of enhancing
Lucien Magne: un enseignement de l'architecture à l'Ecole des beaux-arts entre 1892 et 1916
No full textThe article begins with a reminder of the main orientations of the history of architecture as it was taught at the École des Beaux-Arts after 1819, when the first chair was created at the school.
After the courses of Huyot (1822 to 1840) and Lebas (1841 to 1863) came those of Albert Lenoir, an assistant professor from 1856, appointed to the chair in 1869 and still teaching in 1891. His teaching course ended with the appearance of ogival architecture in the West. His successor,
Lucien Magne, taught between 1892 and 1916. He introduced rationalism into thinking about architecture, succeeding here at what Viollet-Le-Duc had been unable to do in 1864 at his chair of «history of art and aesthetics ». For the students, the main aim of the courses still remained the «concours d’émulation », a competitive examination which allowed the school to grade them. The sources which have been kept allow us to appreciate something of the innovations brought by Magne to his teaching. Starting out from a documentary plate showing a series of buildings or parts of buildings of the same type, the students had to compose a detailed restitution, combining structural analysis with decoration, and which could be a complete building or a piece of furniture. Magne’s approach to the history of architecture laid particular stress on building structures (the «ossature ») before going on to an analysis of the ornamental systems of each civilisation. If he paid close attention to the thirteenth — and fourteenth — century architecture in France, he also attached particular importance to the buildings of neo-classicism.Talenti Simona. Lucien Magne : un enseignement de l’architecture à l’École des beaux-arts entre 1892 et 1916. In: Histoire de l'art, N°31, 1995. Architecture. pp. 47-57
Un coacervo di contraddizioni: la Francia e il difficile rapporto con l'architettura di Michelangelo e del Manierismo fiorentino tra Otto e Novecento
No full textDuring the nineteenth-century, French architectural culture recognizes with difficulty the artistic values of the Italian Mannerism, considered by the majority as a prelude to the decadence of the Baroque. In this climate of contradictions and ostracism, some architects foresee the complexity of the architecture of Michelangelo and are sometimes inspired by him in their realizations
The scientific studies of an architect-historian: “L’Architecture normande...” by Victor Ruprich-Robert
No full text"L’Architecture normande aux XIe et XIIe siècles en Normandie et en Angleterre", published in two volumes (text and atlas) between 1885 and 1889, constitutes a well-known reference work on Norman architecture. The author, Victor Ruprich-Robert (1820-1887), is one of the most important representatives of the architect-historian as scientist. On one hand, the echo of Viollet-Le-Duc’s method is strongly evident, particularly in the attempt to clarify the raison d’être of things focusing on the constructive analysis of the buildings. The iconography proves this through some remarkable images representing "front views, or portions of buildings ... in order to show the constructive and decorative system adopted, instead of being inspired from picturesque examples". On the other hand, Ruprich-Robert’s approach aims to be more scientific in comparison to that of his Master. His work is enriched not only by documentary notes and bibliographical references but also by fine illustrations resulting from architectural surveys. These are drawn with great care and precision in order to lead to a specific analysis of the buildings, of the construction materials, of the laws of static balance, and of the "graphic" aspects.
The variety of iconographical choices confirms this approach without predilection, turned to the scientific evolution of the history of architecture. Indeed, Ruprich-Robert’s images go from minute detail to immense scale, from perspective to geometrical drawings, and from diagrammatic images to realistic reproductions he copied from photography. The normal adoption of a common scale, the close relationship between writing and stamps, the comparative approach, and the scrupulous construction analysis of buildings’ elements confirm that, at the end of the nineteenth century, the book of architecture could become a work of science in both its written words and in its illustration
Architetti e studiosi francesi per l'architettura dei "primitivi" toscani
No full textThe text aims to question how and when French culture rediscovered the values and the intrinsic qualities of early Tuscan architecture. The architects - with a net advance of historical architecture - we reveal the true protagonists of the first and subsequent rehabilitation of the appreciation of this artistic perio
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