Name: Meneses, Reina Hyacynth P.

ASPECN1- ARCH P05

Instructor: Ar. Kaolyne Grace C. Hilario

Neoclassicism was primarily the French Restoration style, but it also reflected the origins of romanticism in music
and literature. The phrase defines the literature, architecture, and decorative arts of the time of the Bourbon
Restoration (1814-1830), from the defeat of Napoleon to the July Revolution of 1830 to the beginning of the reign of
Louis-Philippe at the reign of Louis XVIII to Charles X.

ARCHITECTURE
Buildings and landmarks of the public King Louis XVIII founded the Chapelle Expiatoire by Pierre-François-Léonard
Fontaine on the site of the small cemetery of the Madeleine, where their bodies (now in the Basilica of Saint-Denis)
had been hastily buried since their death, to commemorate the memory of Louis XVI and Marie-Antoinette and to
atone for the crime of their death. In 1826, it was finalized and devoted. The royal government reinstated the old
regime's flags, but the building of most of the temples and civic schemes initiated by Napoleon continued. Napoleon
converted the church of La Madeleine, started under Louis XVI, into the Temple of Glory (1807). Now, as the Royal
Church of La Madeleine, it has been restored to its original purpose. In a relentlessly neoclassical style, all of the
public buildings and churches of the Restoration were designed.
Slowly, on the unfinished Arc de Triomphe, begun by Napoleon, construction resumed. The government agreed to
turn it from a memorial to the achievements of Napoleon into a shrine at the end of the reign of Louis XVIII, marking
the triumph of the Duke of Angôuleme over the Spanish rebels who had overthrown their King of the Bourbons. A
new inscription was planned: "To the Army of the Pyrenees," but the inscription was not carved, and when it is 1830
the dictatorship was overthrown, the work was still not done. And as it goes New grain storage facilities near Arsenal,
new slaughterhouses, and new markets have been completed. Three new suspension bridges, the Pont d'Archeveché,
the Pont des Invalides and the Grève footbridge, have been built over the Seine. Later in the century, all three were
reconstructed.
Now We Go To The Religious Structure Territory:
1. Other notable neoclassical architects of the Restoration included Louis-Hippolyte Lebas, who built Notre-
Dame-de-Lorette (1823–36); (1823–30); and Jacques-Ignace Hittorff, who built the church of Church of
Saint-Vincent-de-Paul (1824–44).
2. A battle took place between architects who wanted a neogothic style, modeled after Notre-Dame, or the
neoclassical style, modeled after the basilicas of ancient Rome.
3. Hittorff went on to along a brilliant career in the reigns of Louis Philippe and Napoleon III, designing the new
plan of the Place de la Concorde and constructing the Gare du Nord railway station (1861–66).
4. Jean Chalgrin had designed Saint-Philippe de Role before the Revolution in a neoclassical style; it was
completed (1823–30) by Étienne-Hippolyte Godde.
5. Godde also completed Chalgrin’s project for Saint-Pierre-du-Gros-Caillou {1822–29), and built the neoclassic
basilicas of Notre-Dame-du-Bonne Nouvelle ((1823–30) and Saint-Denys-du-Saint-Sacrament (1826–35).

Business Industry Infrastructure:

1. A new form of commercial architecture had appeared at the end of the 18th century; the passage, or shopping
gallery, a row of shops along a narrow street covered by a glass roof.
2. The first indoor shopping gallery in Paris had opened at the Palais-Royal in 1786; rows of shops, along with
cafes and the first restaurants, were located under the arcade around the garden.
 3. They were made possible by improved technologies of glass and cast iron and were popular since few Paris
streets had sidewalks and pedestrians had to compete with wagons, carts, animals, and crowds of people.
4. In 1834 the architect Pierre-François-Léonard Fontaine carried the idea a step further, covering an entire
courtyard of the Palais-Royal, the Galerie d’Orleans, with a glass skylight.

Residential Area
1. The width of lots grew larger; from six to eight meters wide for a single house to between twelve and twenty
meters for a residential building.
2. The typical new residential building was four to five stories high, with an attic roof sloping forty-five degrees,
broken by five to seven windows.
3. Between 1824 and 1826, a time of economic prosperity, the quarters of Saint-Vincent-de-Paul, Europe,
Beaugrenelle and Passy were all laid out and construction began
4. This marked the beginning of the movement away from uniform neoclassicism toward eclectic residential
architecture.The hôtel particular, or large private house of the Restoration, usually was built in a neoclassical
style, based on Greek architecture or the style of Palladio, particularly in the new residential quarters of
Nouvelle Athenes and the Square d’Orleans on Rue Taibout (9th arrondissement), a private residential square
(1829–35) in the English neoclassical style designed by Edward Cresy.
5. The hotel particular, or large private house of the Restoration, usually was built in a neoclassical style, based
on Greek architecture or the style of Palladio, particularly in the new residential quarters of Nouvelle Athenes
and the Square d’Orleans on Rue Taibout (9th arrondissement), a private residential square (1829–35) in the
English neoclassical style designed by Edward Cresy.
English Mortality to German Conservation
As compared to each other, urban frameworks of speculative redevelopment and regeneration are also understood. My
goal in the following paper is to challenge this assertion by discussing the parallels of the two systems with respect to
how architecture is perceived, formed and created. I examine the mediation between the one side of speculative
redevelopment and restoration and the other side of design. There is a double function for architecture: as a symbol of
itself and as a signifier of the processes described. A particular type of temporality, which rejects historicity and works
with a static notion of time, is mediated by both speculative redevelopment and restoration by architecture.

1. In Williton, South‐West England, one can visit the world’s only Bakelite Museum.

2. Certain art works or religious ceremonies, such as the Buddhist Mandala ritual, draw their effect precisely
from the negation of such a concept. The laborious construction of a composite mosaic from colored grains of
sand is brought to its own completion with a momentary sweeping gesture by which it is destroyed.

3. The most violent examples of this logic are red lining and blockbusting (cf. Smith and LeFaivre, 1984).

4. The accelerated obsolescence of objects is usually attributed to fashion and its differential logic (cf.
Baudrillard, 1981, p. 49). But in the present case fashion is only part of the problem. Instead, we should focus
on the question of spatial fix, as will be explained below.

5. Therefore, the capital and labor invested into land create conditions of production that are like those that
already exist as a gift of nature somewhere else. But nature’s gift can be rendered useless if the technological
change renders the average price of production cheaper than achievable even with the help of this gift.
Therefore, for example, the importance of fertility of the soil for the value production decreases under the
process of urbanization (cf. Harvey, 1982, pp. 336–337).
6. The terminology is confused here. The concept of absolute space in Harvey (1982, pp. 338–339) must be
distinguished from the way Lefebvre uses it. For Lefebvre (1991, pp. 234–254), absolute space refers to
space, which is mythic, sacred, and transcendental. With the adjective ‘absolute’, Harvey refers to Lefebvrian
abstract space, which is homogeneous and fragmented at the same time. Michael Edwards (1985, p. 212) also
describes the space as abstract and Stanek (2008) then characterizes Lefebvrian space as a concrete
abstraction: ‘Space … is both abstract and concrete in character: abstract inasmuch as it has no existence save
by virtue of the exchangeability of all its component parts, and concrete inasmuch as it is socially real and as
such localized. This is a space that is homogeneous yet at the same time broken up into fragments’ (Lefebvre,
1991, pp. 341–342).

7. In this context, it is important to note that the transport industry is productive—it sells ‘change of location’ as
a product. Bringing the product to the market belongs to the production process (cf. Harvey, 1982, pp. 338–
339).

8. On emergence and restructuring of complex urban systems, cf. Sassen (2001).

9. To prevent any misunderstanding, I do not refer in any sense to historicism, a belief in a theologically pre‐
determinate course of history (for criticism of this approach, cf. Benjamin, 1969b).

10. See also the famous Learning from Las Vegas, describing how ‘symbols may be used in space for commercial
persuasion’ (Venturi et al., 2000, p. 9).

11. In some cases, certain changes of the building can be interpreted as ideological and false. Efforts of
conservation can be then directed towards the moment prior to these changes (as if conservation cancelled the
‘destruction’ of the building).

12. While conservationism is a specific approach to any architectural and urban object, heritage is such an object
produced by conservationism (here, heritage is used mostly with reference to the materiality of architecture
and city, although connection with a wider meaning of the term, including other objects, artistic products and
non‐material practices, should be taken into account; cf. Graham, 2002). Conservationism is a spatial practice
that constitutes space as heritage.

13. I consider certain demolition to be permissible, as it happened … in Sopron in Hungary …, where the house
in front of the big bastion was not rebuilt after the war for the sake of visibility’ (Román, 2000, p. 16).

14. ‘The picturesque is a primarily aesthetic category which performed the cultural work of detaching landscape
from its particular connections to political … orders, turning it into a commodity …’ (Oerlemans, 2002, p.
158).

15. This is well illustrated, for example, by social transformation of peasant’s food. After it is displaced from
plates of the poor by mass‐produced products, it returns as an exclusive food and culinary specialty with a
touch of authenticity. In Barthes’ analysis of the Panzani advertisement (1991), what is sold together with
pasta is a certain model of traditional Italianicity. Fresh and home‐grown products that come directly from the
soil suggest a well‐chosen menu. Today, cheap food is not represented by potatoes anymore, but by deep‐
frozen pizza.
 16. I do not suggest in any way that the questions of use and status distinction are becoming irrelevant for
speculative development. On the contrary, as it was explored above, they are the key elements that define its
logic—the search for the highest and ‘best’ use that can be put up on the parcel of land. However, about
relation of architecture and speculative development, I am here primarily interested in stressing architecture’s
key role in signification.

17. There is another paradox involved here. Construction of the bridge, where the UFO Tower is situated,
represents one of the most brutal cases of the post‐war communist urbanistic interventions in Bratislava. It
razed down a significant part of the old city and separated the city center from the castle by a four‐lane‐wide
motorway passing just in front of the main cathedral. Today, numerous initiatives that propose to reconstruct
and cover up the demolished part of the old city describe the bridge as a barbarous project. There is then a
double argumentation related to the project. On one occasion it is characterized as barbarous, whereas on the
other occasion it is defended as a visually threatened monument on the city’s skyline. The problem is that
these two argumentations never intersect far enough to recognize the object of conservation as a result of a
former, and quite brutal, redevelopment.

Basic Issues on Heritage

 Natural and tangible/intangible Cultural Heritage as Strategic Territorial Development Resources.

 Linking cultural and natural heritage.
 Climate change, natural and other threats to cultural heritage.
 Sounds and Soundscapes as elements of the culture of places.
 Cultural heritage, archaeological sites, monuments, and sensory landscapes.
 Shaping places with culture and nature.
 Natural and cultural heritage: planning, management, governance, marketing, funding.
 New mapping and surveying technologies for cultural or/and natural heritage Tourism and Heritage,
Cultural Tourism.

Heritage Issues
For cultural properties
Ascertained Danger
The property is faced with specific and proven imminent danger, such as:
 serious deterioration of materials.
 serious deterioration of structure and/or ornamental features.
 serious deterioration of architectural or town-planning coherence.
 serious deterioration of urban or rural space, or the natural environment.
 significant loss of historical authenticity.
 important loss of cultural significance.
Potential Danger
The property is faced with threats which could have deleterious effects on its inherent characteristics. Such threats are,
for example:
 modification of juridical status of the property diminishing the degree of its protection.
 lack of conservation policy.
 threatening effects of regional planning projects.
 threatening effects of town planning.
 outbreak or threat of armed conflict.
 threatening impacts of climatic, geological, or other environmental factors.