LECTURE 5

CHAPTER TWO : THEMATIC THEORIES

Viollet Le Duc

Prepared by Saurav Shrestha

Eugene Viollet-le-Duc
1814-1879
French Architect, Author, Theorist,
mostly remembered as rationalist.

Restored many important

medieval landmarks in France,
including those damaged during
french revolution like
- Notre Dame de Paris
- Basilica of Saint Denis, Mont
Saint Michel
- Sainte Chapelle
- Medieval wall of the city of
Carcassone.

Considered as the first theorist of

modern architecture as his
theories of rational architectural
design linked revivalism of
romantic period to 20th century
functionalism

INTRO 1.01
 Viollet-le-Duc Contribution
Restorations & Controversy

Famous for his interpretive

‘restorations’ of medieval
buildings. His restorations
combined historical fact with
modification.

Preserver of Romanesque, Gothic

and Renaissance architecture.

Romanesque > architectural style of medieval

europe charcterized by semi circular arches.

Gothic > evolved from romanesque and its

characteristics include the pointed arch, the
ribbed vault and flying buttress.

Renaissance Architecture > demonstrates

conscious revival and development of certain
elements of ancient greek and roman thought
and material culture

VIOLLET-LE-DUC’S ARCHITECTURAL RESTORATION 2.01

 Viollet-le-Duc Contribution
Restorations & Controversy

Among his famous restorations ,

the medieval fortified towns of
Carcassonne, gaining atop each
of its many wall towers, a set of
pointed roofs that are actually
more typical of northern france.

Viollet-le-duc wrote that

restoration is a means to
reestablish a building to a finished
state, which may in fact never
have actually existed at any given
time.

VIOLLET-LE-DUC’S ARCHITECTURAL RESTORATION 2.02

 Viollet-le-Duc Contribution
Restorations

Viollet le duc purused spirit of

gothic style instead of historic
accuracy in restoration.

Viollet-le-duc made several non

historical addition -either to
assure the stability of the building
or simply to maintain the harmony
of design

Example : Notre Dame De Paris of

1250, which was damaged by
wind 1786 is restored with a new
spire , taller than original and
modified to resist weather.

VIOLLET-LE-DUC’S ARCHITECTURAL RESTORATION 2.03

 Viollet-le-Duc Contribution
Theory on Restoration
To restore a building is not to maintain it, repair it or remake it : it is to
reestablish in it a complete state which may never have existed at any given
moment.

Conditions of Architectural Restoration :

1. Restablishment had to be scientifically documented with plans and
photographs and archaelogical records, which would guarantee
exactness.
2. The restoration had to involve not just the appearance of the
monument, or the effect that it produce, but also the structure ; it had to
use the most efficient means to assure the long life of the building,
including using more solid materials used more wisely.
3. The restoration had to exclude any modification contrary to obvious
evidence, but the structure could be adapted to conform to more
modern or rational uses and practices, which meant alteration to the
original plan
4. The restorations should preserve older modification to the building, with
the exception of those which compromised its stability or its
conservation or those which gravely violated the value of its historical
presence.

VIOLLET-LE-DUC’S ARCHITECTURAL RESTORATION 2.04

 Viollet-le-Duc Contribution
Restorations & Controversy

Viollet-le-duc can be said to have

dominated 19th century theories
of architectural restoration, his
initial aim was to restore in the
style of the original, but his later
restorations show that he often
added entirely new elements of
his own designs.

20th century archaelogists have

severely criticized these fanciful
reconstruction and added
structures posing as restorations,
for they often destroy or render
obscure the original form of the
edifice.

VIOLLET-LE-DUC’S ARCHITECTURAL RESTORATION 2.04

VICTOR HORTA GUIMARD Viollet-le-Duc Contribution
VAN DE VELDE
Writings on Architecture

His Writings on decoration and on

the relationship between form and
function in architecture had
fundamental influence on whole
new generation of architects,
including :
- all major art nouveau artists :
Gaudi, Horta, Guimard, Van
de Velde and so on.
- modern architects like Frank
Lyod Wright, Mies Van Der
Rohe, Louis Sullivan and Le
Corbusier.
LOUIS GEHRY - John Ruskin, William Morris
ANTONIO GAUDI LOUIS SULLIVAN and Arts and Craft
Movement.

VIOLLET-LE-DUC’S WRITINGS 3.01

 Viollet-le-Duc Contribution
Writings on Architecture
Throughout his life, wrote over
100 publications , The most
important ones are :
1. Entretiens sur
l'architecture (1863-1872,
in two volumes)-
‘Discourse on
Architecture’, translation by
Henry van Brunt, 1875 –
systematized approach to
architecture and architectural
education, in a system
radically opposite to Beaux
Art tradition
2. Habitation of Man in all
Ages (French, 1875, English
translation, 1876) – traces
the history of domestic
architecture among the
different races of mankind

VIOLLET-LE-DUC’S WRITINGS 3.02

 Viollet-le-Duc Contribution
Architectural Theory

Viollet-le-Duc envisaged a rational

architecture for the 19th centtury
based on the coherent system of
construction and composition that
he had observed in Gothic
architecture but that would in no
way imitate its form and details.

Architecture, he thought, should

be direct expression of current
materials, technology, needs.
Ironically, he himself was unable
to accept the challenge of his own
ideas for he continued to design
buildings in eclectic styles.

Viollet-le-duc is considered by
many to be first theorist of
modern architecture.

VIOLLET-LE-DUC’S ARCHITECTURAL THEORY 4.01

 Viollet-le-Duc Contribution
Architectural Theory
Viollett-le-Duc’s architectural
theory can be summarized in
following points.
1. Finding the ideal form for
specific material and using
these forms to create
buildings.
2. Material should be used
honestly.
3. The outward appearance of
the building should reflect
the rational construction of
the buildings. Greek Temple
served as model for
correspondence between
structure and appearance.
4. The design of building
should start with program
and the plan and end with
decoration.

VIOLLET-LE-DUC’S ARCHITECTURAL THEORY 4.01

 Viollet-le-Duc Contribution
Architectural Theory

Viollett-le-Duc’s rejected the

symmetry of classical buildings as
vain-too much attention on
appearance at the cost of
practicality and convenience of
the inhabitants.

Viollet le Duc emphasized on

learning froms structural system
of Gothic archtiecture which can
be applied to design new
buildings.

Viollet le Duc also examined

organic structure like leaves,
animals,, skeletons for inspiration.

VIOLLET-LE-DUC’S ARCHITECTURAL THEORY 4.01

 Viollet-le-Duc Contribution
Architectural Theory

Viollett-le-Duc’s rejected the

symmetry of classical buildings as
vain-too much attention on
appearance at the cost of
practicality and convenience of
the inhabitants.

Viollet le Duc emphasized on

learning froms structural system
of Gothic archtiecture which can
be applied to design new
buildings.

Viollet le Duc also examined

organic structure like leaves,
animals,, skeletons for inspiration.

VIOLLET-LE-DUC’S ARCHITECTURAL THEORY 4.01

 Viollet-le-Duc Contribution
Architectural Theory
Viollett-le-Duc’s general theory on
architecture , which affected the
development of modern, organic
and functional concepts of design
was set forth in his book
Discourse on Architecture (1975).

This book contained information

on the construction of iron
skeletons enclosed by non
bearing masonry walls, especially
influenced the late 19th century
architects of the Chicago school
like John W. Root and Sullivan.

Voillet-le-duc advocated use of

iron, neither giving gothic flavor
like Pugin nor focusing on
technological rationalism as
Paxton’s crystal palace.

VIOLLET-LE-DUC’S ARCHITECTURAL THEORY 4.01

 Viollet-le-Duc Contribution
Discourse on Architectura

1. Nineteenth Century Disorder

2. Truth in Engineering
3. Truth in Architecture
4. Reason
5. Stages of Design
6. Axial Symmetry Unnecessary
7. Principle not forms
8. Primitive Sources
9. Gothic Example
10. The organic anaology

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.01

Viollet-le-Duc Contribution
Discourse on Architectura

1. Nineteenth Century Disorder

Radical basis of his theory arose from gross disparity between
admirable aspect of architecture of the past and the low state of
architecture at present.

“When architects, instead of making form from the frank expression

of the requirements they were called on to satisfy and off the means
of construction at their disposal, began to preoccupy themselves
with the idea of adopting certain styles, borrowed directly or
indirectly from ancient Rome” - (Discourse on Architecture)

“The Renassiance movement turned this part of globe for a time

out of its normal path of progress, we have been inundated with
neo-greek and neo-roman art- such indeed would make Greeks
and Romans Laugh- without the slightest regard for origins, natural
aptitudes, climate, material or the novel conditions of social life”
(From “The habitation of Man in All Ages)

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.02

Viollet-le-Duc Contribution
Discourse on Architectura

2. Truth in Engineering
Example of Locomotive - some of it looks ugly, but why ? Does it
not hae the true expression of brutal energy ?
Is it not a complete organized mass, like artillery or a rifle ?
A thing has a style when it has the expressiuon appropriate to its
users ?

3. Truth in Architecture
Two ways of expressing truth in architecture
> according ot the program or requirements
- For this >fulfill with scrupulous exactness all the conditions
imposed by necessity.
> according to the methods and means of construction.
- For this > employ materials with a due regard for their qualities
and capacities.

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.03

Viollet-le-Duc Contribution
Discourse on Architectura

5. Stages of Design
Program - presents the problem to be solved :
art of architecture is fitness of solution
Design is shaped by program of the problem and by the nature of
material and its use.

Design proceeds in a logical manner > program > confusing and

contradicting - simplified with careful analysis

True architect does not allow his mind to be preoccupied by these

monuments of the past. Once his plans settled upon, his elevations
are part and an expression of them, he sees how he should
construct them, and the dominating idea of the plan becomes the
principle feature of the facades.

Considerations of stability and of the most economical methods of

construction suggests to him the characer of his exteriors

Plan as a solution and elevation as an exprression of problem.

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.05

Viollet-le-Duc Contribution
Discourse on Architectura

6. Axial Symmetry Unnecessary

Symmetry - not always asked for
Design from the outside in - Renaissance facade without thinking
the practical requirements that should havve been the idea of
compositon. “ Palace, public office, barrack, stable or museum are
indiscriminately forced behind the same architectural screen

False interpreation of historical monument > emphasis of symmetry

in ancient art- a dangerous error.

7 Principle not Forms

Study of history of architecture is to discover generative principles
of the forms from the past, not simply adoption of those forms.
Argument for perfection of ancient greek architecture : “Art does
not consists in this or that form, but in principles. A logical method,
we should reason like them, but should not endevour to speak the
same language.

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.06

Viollet-le-Duc Contribution
Discourse on Architectura

8. Primitive Sources
Great revival of architecture signalled by the sudden appearance of
Byzantine art did not result from study of the corrupt type of later
Roman architecture but rather from an indigenous art in syria
during the Phoenican Judaic epoch

“Simple principles are alone productive, and it is worthy of remark

that the more simple they are, the more beautiful and varied are the
ultimate results.

9. The Gothic Example

Discourses on architecture discusses and discovers the principles
at work behind the Egyptian, Greek, Roman, Romanesque, Gothic
and Early Renaissance architecture . Gothic - most important in his
time as most instructive are those from 12th and 13th century
because it was part and expression of a prodigous intellctual
movement toward modern ideas.
Gothic structure - perfect example of structural rationalism where
every member was the result of the construction necessity.

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.02

Viollet-le-Duc Contribution
Discourse on Architectura

9. Nationalism
French Gothic Architecture > simply an instance of national
vanity, but a supreme expression of french national genius
Public and private buildings should , in plan and construction
should be made to conform to our usages, to our climate, to
our national spirit and to the progress which has been made in
science and practical knowledge.

10. Organic analogy

Viewed natural organisms as ‘paradigm of functional and
structural expression and thus of true style.
All works of nature has style, however varid but always
submitted to laws and invariable principles. Example : Lilies of
field, Leaves of trees, the insects , they all have style , as they
grow , develop and exist according to the essentially logical
laws. Nothing in nature is without principle, everything in
nature must have a style. Proceed like nature in her
productions, thus you would be enabled to give style to all the
conceptions of your brain.

VIOLLET-LE-DUC’S DISCOURSE ON ARCHITECTURE 5.07

Viollet-le-Duc Position
Gothic vs Beaux Arts

During the entire career of Viollet-le-duc, he was engaged in a dispute

with the doctrines of the Ecole des Beaux Arts, the leading Architectural
School of France, which he refused to attend as a student and where he
taught briefly as professor, before being pressured to resign.

In 1846, Viollett-le-Duc engaged in fervent exchange in print with

Quatremere de Quincy, secretary of French Academy, on the question, “
is it suitable , in the 19th century, to build churches in the Gothic style?”
De Quincy and his followers denounced Gothic as incoherent,
disorderly, unintelligent, decadent and without taste.

Viollet-le-duc responded, “What we want , is the return of an art which

was born in our country… Leave to Rome what belongs to Rome, and to
Athens what belongs to Athens. Rome did not want our Gothic and they
were right, because when one has good fortune to possess a national
architecture, the best thing is to keep it.”

In response to Beaux Arts he initiated the creation of Ecole Speciale

d’Architecture in 1865.

GOTHIC VS BEAUX ARTS 6.08

 Viollet-le-Duc
Death & Legacy

August Ferret was inspired by his

ideas and steadfastly clung to
them throughout his life.

Frank Lloyd Wright continually

acknowledged his debt to the
great restorer.

Mies Van Der Rohe even has

admitted his influence. Mies’s
ideas might seem closer to the
steel and glass building of
Viollet-le-Duc.

Antonio Gaudi’s highly original

work was directly inspired by the
writings of Viollet-le-duc

VIOLLET-LE-DUC’S GOTHIC VS BEAUX ARTS 7.01