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Messagefrom General Criticsso under this basis, new materials and technologies comes into architecture as practical "instruments".
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Messagefrom General CriticsViollet "saw a fundamental principle, in the application of reason to the satisfaction of needs, and this substantiated his case for architecture as a science and saved it from its fate as historical curiosity" consider architecture as a science
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page043from Building IdeasLike other writers of his time he produced a “universal history” from the origins of architecture in the “primitive hut”, but whereas Hegel had been interested in what buildings meant, Viollet simply concentrated on how they were built. With an emphasis on function and economy of means, all previous architecture was presented as rational – even classical Greek “ornament” was show to derive from construction. Whereas in his “Lectures” he followed a Hegelian chronology, in the Dictionnaire he used a more anatomical method – dividing up his subject into alphabetical sections, more easily, he maintained, to study its parts:
… because this form obliges us, if we might thus say it, to dissect separately in describing the functions performed, the use of each of the diverse parts and of the modifications it has experienced.21 Throughout the history of architecture he saw a fundamental principle, in the application of reason to the satisfaction of needs, and this substantiated his case for architecture as a science and saved it from its fate as historical curiosity. It was this principle which he felt should be applied in his own time, making use of new materials and advances in technology. As he writes in the Lectures, again inspired by engineering: The construction of locomotive engines did not take it into their heads to copy a stage-coach team. Moreover we must consider that art is not riveted to certain forms, but that, like human thought, it can incessantly cloth itself in new ones … Let us endeavour to proceed thus logically; let us frankly adopt the appliances afforded us by our own times, and apply them without the intervention of traditions which have lost their vitality…. 22 21 E. E. Viollet-le-Duc, the Foundations of Architecture, translated by Barry Bergdoll and Kenneth D. Whitehead, George Braziller, New York, 1990, p 18. 22 E.E. Viollet-le-Duc, Lectures on Architecture, translated by Benjamin Bucknall, Dover, New York, 1987, v2, p 64-5.
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Messagefrom General Critics" In architecture specifically the reaction has taken two different forms, with the split between engineering and art as a consequence."
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page042from Building Ideasthe 1820s Hegel set out in a hierarchical sequence his version of the development of art. From architecture and sculpture, the two most “physical” of media, developed the progressively more abstract disciplines of painting, music and poetry. Whereas the last is the least reliant on sensory stimulation and is capable of expressing the most complex ideas, the first is seen as rather basic and clumsy, and only suitable for the notions of a more primitive culture.
Poetry in its turn must give way to science, as Hegel’s relentless progression of reason moves on to explain the world. As the metaphors and allusions give way to hard facts, the process of history is announced as complete. This system consigns architecture to the realm of the distant past and later art historians have had to respond to this troublesome fact. In architecture specifically the reaction has taken two different forms, with the split between engineering and art as a consequence. The key figure in the rise of the architect as engineer is Eugene Emmanuel Viollet-le-Duc, who, writing around 1860, took up Hegel’s challenge to the foundations of architecture. As the eclecticism of the time and the debates about style threatened to confirm Hegel’s forecast of doom, Violet set out the case for architecture’s continued importance as a technical, rather than an expressive, endeavour. While the nineteenth century revivals of historical styles were partly brought on y Hegel’s periodising of history, the confusion that followed had spurred Viollet’s search for “timeless” principles, beyond the distractions of symbols and meanings. As he writes, on “Construction” from his Dictionaire Raisonné (anticipating Le Corbusier on the ”engineer’s aesthetic”): The last Romanesque builders, those who after so many attempts had finally dismissed the semi-circular arch, are not visionaries; they do not speculate on the mystical meaning of a curve; they do not know if the pointed arch is more religious than the semi-circular arch; they build – a more difficult task than idle dreaming.20 20 E. E. Viollet-le-Duc, Rational Building, translated by George Martin Huss, Macmillan New York, 1895, p 42.
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