PDF | Review of Museum of Modern Art Exhibtion, Henri Labrouste: Structure Brought to Light. Featured image is reproduced from Henri Labrouste: Structure Brought to Light< Henri Labrouste is one of the few nineteenth-century architects consistently. To cite this article: Joanna Merwood-Salisbury () Exhibition: 'Henri Labrouste: Structure Brought to Light', The Journal of Architecture, , , DOI.
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A celebrated protagonist of nineteenth-century French architecture, Henri Labrouste — has been rigorously reappraised by subsequent generations of architects and architectural historians.
Therefore, the exhibition also sought to make sense of Labrouste for the present by proposing that his formal experiments with the industrial material of iron resonate in the radical transformations in contemporary architectural design and fabrication provoked by digital technologies.
Labrousfe, the show suggested that his innovative approach to the library as a novel civic space in the nineteenth century, stimulated by emerging modes of mechanical reproduction and a growing reading public, holds lessons for today as new information technologies are again changing the figuration of this building type. The contents of the catalogue are divided into three sections: Refuting earlier studies, which proposed that the chronology of the three Doric temples of Paestum could be traced in the gradual refinement of their volumes, Labrouste instead posited that the fabric of the buildings evidenced the social evolution of the Greek colony that settled on the island.
Henri Labrouste: Structure Brought to Light
In his brilliant longitudinal cross-section of the reconstructed basilica of on view in the MoMA gallery, Labrouste employed ephemeral decorations, including graffiti on its walls and a string of shields running along the structurd of broight interior cornice to propose that secular rituals had taken place inside the building.
Labrouste brought to these studies the then current fascination with architectural polychromy, which Jacques-Ignace Hittorff sparked during his travels to Sicily in the early s as a means to help destabilize the perennial authority assigned to the Orders by searching out alternative forms of architectural brougt.
On the neutral beige ground of the city and its surrounding stone landscape, Labrouste applied touches of ocher on the crenellations above the arched entryway as well as on the pilasters and entablatures of the buildings that meld into the sloping hillside, and he traced the outlines of cornices and a pediment with dabs of pale blue according with the color of the sky. Labtouste with his use of paint, which appears rapidly applied as if for a celebration, a delicate spray—consisting of shields, arrows, a wheel, and a plume—adorns the top of the entryway and animates the citadel with the fleeting specters of the people who once inhabited it.
These ephemeral marks of paint and ornament traced on this everyday landscape undermined the classical conventions heni from Johann Joachim Winckelmann, which championed a view of monumental antique architecture assembled from milky white marble. Instead, Labrouste formulated an alternative reading of the past in which vibrant ornament functioned to revive social ritual and historical consciousness.
Henri Labrouste: Structure Brought to Light
In his Space, Time, and Architecture: In the second section, historical photographs and drawings were deftly intermingled with contemporary modes of architectural representation.
For example, digital projections and laser-cut models communicated the scale, composition, and spatial configuration of the libraries.
The third section of sgructure exhibition sketched an ambitious history of late nineteenth and early twentieth-century architecture, which placed Labrouste at the heart of architectural developments in Europe and the United States.
Louis, Missouri, depend on Labrouste in particular?
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Henri Labrouste: Structure Brought to Light | Joanna Merwood-Salisbury –
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