The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
two words can meet" (p. 25; it remains to be determined whether this last sentence is meant ironically, or whether it distinguishes between algebra and mathematics). The author criticizes the Pont du Louvre and the Pont de la Cite (both bridges from 1803) in accordance with the principles of Leon Battista Alberti. [F6a,3] According to Viel the first bridges to be built on a constructive basis would have been undertaken around 1730. [F7,!] In 1855, the Hotel du Louvre was constructed at a rapid tempo, so as to be in place for the opening of the world exhibition. " For the first time the entrepreneurs used electric light on the site in order to double the day's labor; some unexpected delays occurred; the city was just coming out of the famous carpenters' strike which put an end to wood-frame structures in Paris. Consequently the Hotel du Louvre possesses the rare distinction of having wedded, in its design, the wood paneling of old houses to the iron flooring of modern buildings. '" Vk G. d' Avenel, "Le Mecanisme de la vie moderne," part 1, "Les Grands Magasins," Revue des deux mondes (July 15, 1894), p. 340. [F7,2] "In the beginning, railroad cars look like stagecoaches, autobuses like omnibuses, electric lights like gas chandeliers, and the last like petroleum lamps." Leon Pierre-Quint, "Signification du cinema," L 'Art cinematographique, 2 (Paris, 1927), p. 7. [F7,3] Apropos of the Empire style of Schinkel: "The building that brings out the location, the substructure that embodies the true seat of invention, . . . these things resemble-a vehicle. They convey architectural ideals, which only in this sort of way can still be 'pract.iced. m Carl Linfert, "Vom Ursprung grosser Baugedanken," Frankfurter Zeitung, January 9, 1936. [F7,4] On the world exhibition of 1889: "We can say of this festivity that it has been celebrated, ahove all, to the glory of iron . ... Having undertaken to give readers of Le Correspondant a rough idea of industry in connection with the Exposition du Champ de Mars, we have chosen for our theme 'Metal Structures and Railroads. '" Albert de Lapparent, Le Siilcle dufer (Paris, 1890), PI'. vii-viii. [F7,5] On the Crystal Palace: "'The architect, Paxton, and the contractors, Messrs. Fox and Henderson, had systematically resolved not to use parts with large dimensions. The heaviest were hollow cast-iron girders, eight meters long, none of which weighed more than a ton . ... Their chief merit was that they were economical. . .. Moreover, the execution of the plan was remarkahly rapid, since all the parts were of a sort that the factories could undertake to deliver quickly. " Albert de Lapparent, Le Siilc!e dILfer (Paris, 1890), 1 '. 59. [F7,6] Lapparent divides iron structures into two classes: iron structures with stone facings and true iron structures. He places the following example among the first
sort. ""Labrouste . . . in 1868, . .. gave to the puhlic the reading room of the Bihliotheque Nationale . ... It is difficult to imagine anything more satisfying or more harmonious than this great chamher of 1,156 square meters, with its nine fretted cupolas, incorporating arches of iron lattice and resting on sixteen light cast-iron columns, twelve of which are set against the walls, while four, completely free-standing, rise from the floor on pedestals of the same metal." Alhert de Lapparent, Le Siilcle dufer (Paris, 1890), pp. 56-57. [F7a,l] The engineer Alexis Barrault, who with Viel built the Palace of' Industry in 1855, was a brother of Emile Barrault. [F7a,2] In 1779, the first cast-iron bridge (that of Coalbrookdale). In 1788, its builderl2 was awarded the Gold Medal of the English Society of Arts. "Since it was in 1790, furthermore, that the architect Louis completed the wrought-iron framework for the Theatre Fraw;ais in Paris, we may say that the centenary of' metal construction coincides almost exactly with that of the French Revolution. " A. de Lapparent, Le Siilcle dufer (Paris, 1890), pp. 11-12. [F7a,3] Paris, in 1822: a ""woodwork strike." [F7a,4] On the suhject of the Chinese puzzle, a lithograph: The Triumph of the Kaleidoscope, or the Demise o.fthe Chinese Game. A reclining Chinese man with a hrainteaser spread out on the ground before him. On his shoulder, a female figure has planted her foot. In one hand, she carries a kaleidoscope; in the other, a paper or a scroll with kaleidoscope patterns. Cahinet des Estampes (dated 181S). [F7a,5] !''' The head turns and the heart tightens when, for the first time, we visit those fairy halls where polished iron and dazzling copper seem to move and think by themselves, while pale and feeble man is only the humble servant of those steel giants." J. Michelet, Le Peuple (Paris, 1846), p. 82. The author in no way fears that mechanical production will gain the upper hand over human heings. The individualism of the consumer seems to him to speak against this: each "'man now . .. wants to be himself. Consequently, he will often care less for products fahricated by classes, without any individuality that speaks to his own" (ihid., p. 78). J:l [F7a,6] "Viollet-Ie-Duc (1814-1879) shows that the architects of the Middle Ages were also engineers and resourceful inventors." Amedee Ozenfant, '''La Peinture muralc," Encyclopedie fraru;aise, vol. 16, Arts et litteratu,res dans la societe contemporaine, part 1, p. 70, column 3. [F8,l] Protest against the Eiffel Tower: '''We come? as writers, painters, sculptors, architects, ... in the name of French art. and French history, hoth of' which are threatened? . .. to protest against the construction, in the very heart of our capital, of the useless and mons trollS Eiffel Tower. . . . Its harharous mass overwhelms Notre-Dame, the Sainte-Chapelle, the Tower of Saint-Jacques. All our monuments
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sort. ""Labrouste . . . in 1868, . .. gave to the puhlic the reading room of the<br />
Bihliotheque Nationale . ... It is difficult to imagine anything more satisfying or<br />
more harmonious than this great chamher of 1,156 square meters, with its nine<br />
fretted cupolas, incorporating arches of iron lattice and resting on sixteen light<br />
cast-iron columns, twelve of which are set against the walls, while four, completely<br />
free-standing, rise from the floor on pedestals of the same metal." Alhert de Lapparent,<br />
Le Siilcle dufer (Paris, 1890), pp. 56-57. [F7a,l]<br />
<strong>The</strong> engineer Alexis Barrault, who with Viel built the Palace of' Industry in 1855,<br />
was a brother of Emile Barrault. [F7a,2]<br />
In 1779, the first cast-iron bridge (that of Coalbrookdale). In 1788, its builderl2<br />
was awarded the Gold Medal of the English Society of Arts. "Since it was in 1790,<br />
furthermore, that the architect Louis completed the wrought-iron framework for<br />
the <strong>The</strong>atre Fraw;ais in Paris, we may say that the centenary of' metal construction<br />
coincides almost exactly with that of the French Revolution. " A. de Lapparent, Le<br />
Siilcle dufer (Paris, 1890), pp. 11-12. [F7a,3]<br />
Paris, in 1822: a ""woodwork strike." [F7a,4]<br />
On the suhject of the Chinese puzzle, a lithograph: <strong>The</strong> Triumph of the Kaleidoscope,<br />
or the Demise o.fthe Chinese Game. A reclining Chinese man with a hrainteaser<br />
spread out on the ground before him. On his shoulder, a female figure has<br />
planted her foot. In one hand, she carries a kaleidoscope; in the other, a paper or<br />
a scroll with kaleidoscope patterns. Cahinet des Estampes (dated 181S). [F7a,5]<br />
!''' <strong>The</strong> head turns and the heart tightens when, for the first time, we visit those fairy<br />
halls where polished iron and dazzling copper seem to move and think by themselves,<br />
while pale and feeble man is only the humble servant of those steel giants."<br />
J. Michelet, Le Peuple (Paris, 1846), p. 82. <strong>The</strong> author in no way fears that mechanical<br />
production will gain the upper hand over human heings. <strong>The</strong> individualism<br />
of the consumer seems to him to speak against this: each "'man now . .. wants<br />
to be himself. Consequently, he will often care less for products fahricated by<br />
classes, without any individuality that speaks to his own" (ihid., p. 78). J:l [F7a,6]<br />
"Viollet-Ie-Duc (1814-1879) shows that the architects of the Middle Ages were also<br />
engineers and resourceful inventors." Amedee Ozenfant, '''La Peinture muralc,"<br />
Encyclopedie fraru;aise, vol. 16, Arts et litteratu,res dans la societe contemporaine,<br />
part 1, p. 70, column 3. [F8,l]<br />
Protest against the Eiffel Tower: '''We come? as writers, painters, sculptors, architects,<br />
... in the name of French art. and French history, hoth of' which are threatened?<br />
. .. to protest against the construction, in the very heart of our capital, of<br />
the useless and mons trollS Eiffel Tower. . . . Its harharous mass overwhelms<br />
Notre-Dame, the Sainte-Chapelle, the Tower of Saint-Jacques. All our monuments
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