The Arcades Project - Operi
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The Arcades Project - Operi

The Arcades Project - Operi The Arcades Project - Operi

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forts will be occupied hy regular army troops! You admit then that, with a system of forts, the population could not defend itself alone. This is ... an immense, a terrible admission." Arago, Sur les Fortifications de Paris (Paris, 1841), pp. 80- 81. [r3a,l] Marx on the June Insurrection: In order to dispel the people's last illusion, in order to enable a complete break with the past, it was necessary for the customary poetic accompaniment of a French uprising, the enthusiastic youth of the bour­ geoisie, the students of the Ecole Poly technique, the three-cornered hats-all to take the side of the oppressors." Karl Marx, 'Dem Andenken del' Juni-Kampfee' [Karl Marx als Denker, Mensch und Revolutionii1; eel. D. Rjazanov (Vienna and Berlin < l928>,p, 36],' [r3a,2] Again, in 1871, in his strategy for the defense of Paris, Blanqui comes back to the uselessness of the forts which Louis Philippe erected against Paris. [r3a,3) The postrevolutionary tendencies of architecture, which gain currency with Le­ doux, are characterized by distinct block-like structures to which staircases and pedestals are often appended in "standardized" fashion, One might discern in this style a reflection of Napoleonic military strategy, With this goes the effort to generate certain effects by means of structural massing. According to Kaufmann, "Revolutionary architecture aimed to produce an impression through giant masses, the sheer weight of the forms (hence the preference for Egyptian forms, which predates the Napoleonic campaign), and also through the handling of materials. The cyclopean embossment of the saltworks, the powerful ordon­ nance of the Palais de Justice at Aix, and the extreme severity of the prison designed for this city . .. speak clearly of that aim:' Emil Kaufmann, Von Ledoux bis Le em'busier (Vienna and Leipzig, 1933), p. 29. [r4,1] Ledoux's planned toll-helt for Paris: "'From the beginning, he set his sights as high as possible. His tollgates were intended to proclaim from afar the glory of the capital. Of the more than forty guardhouses, not one resemhled any of the others, and among his papers after his death were found a number of unfinished plans for expanding the system." Emil Kaufmann, Von Ledoux bis Le Corbusier: Ursprung und Entwicklung del' autonomenArchitektur (Vienna and Leipzig, 1933) , p. 27. [r4,2] Shortly after 1800, things were already so far along that the ideas which appear in Ledoux and Boullee-elemental outbursts of passionate natures-were heing propounded as official doctrine . ... Only three decades separate the late work of Blondel, which still . . . embodies the teachings of French classicism, from the Precis des leqons d'architectnre of Durand, whose thinking had a decisive influence during the Empire and in the period following. They are the three decades of Ledouxs career. Durand who announced the norm from his chair at the Ecole Royale Poly technique in Paris, . . . diverges from Blonde! on all essential

points. His primer hegins ... with violent attacks on two famous works of classic Baroque art. St. Peter s in Rome along with its square and the Paris Pantheon are invoked as counterexamples . . . . Whereas Blondel warns of 'monotonous planimetl'Y and would not he unmindful of the function of perspective Durand sees in the elementary schemata of the plan the only correct solutions." Emil Kaufmann Von Ledoux bis Le em'busier (Vienna and Leipzig, 1933), pp. 50-51. [r4,3J The institution of the Ponts et Chaussees had the tested. unique privilege of coming through the great Revolution nnCOll­ [r4a,IJ The students of the Ecole Polytechnique according to Barth{lemy: Glory to you, yo uths of' banquets and darLs! Ho w we applauded in our po ets' hearts \V hen on the dusty street yo u took yo ur stand, Elegantly dressed, with rifle in hand! BarthClemy and Mery, L 'Insurrection (Paris, 1830), p. 20. [r4a,2J

points. His primer hegins ... with violent attacks on two famous works of classic<br />

Baroque art. St. Peter s in Rome along with its square and the Paris Pantheon<br />

are invoked as counterexamples . . . . Whereas Blondel warns of 'monotonous<br />

planimetl'Y and would not he unmindful of the function of perspective Durand<br />

sees in the elementary schemata of the plan the only correct solutions." Emil<br />

Kaufmann Von Ledoux bis Le em'busier (Vienna and Leipzig, 1933), pp. 50-51.<br />

[r4,3J<br />

<strong>The</strong> institution of the Ponts et Chaussees had the<br />

tested.<br />

unique privilege of coming through the great Revolution nnCOll­<br />

[r4a,IJ<br />

<strong>The</strong> students of the Ecole Polytechnique according to Barth{lemy:<br />

Glory to you, yo uths of' banquets and darLs!<br />

Ho w we applauded in our po ets' hearts<br />

\V hen on the dusty street yo u took yo ur stand,<br />

Elegantly dressed, with rifle in hand!<br />

BarthClemy and Mery, L 'Insurrection (Paris, 1830), p. 20. [r4a,2J

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