The catalogue and brochure from The Architecture of the Ecole des Beaux-Arts can be seen at the far right. It is both appropriate and odd that this case of texts should go at the end of the exhibition. Others seem unnecessarily short, especially when one considers the many illustrations that take up space on the pages that could have been used for more text. The catalogue does, however, have an advantage over that of the Ecole des Beaux-Arts exhibition by the fact that the lengths of its essays are substantially shorter and therefore easier to digest, both for scholars and especially for students.
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This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. His evolutionary model of modern archi- would be otherwise difficult to digest. The third section aside, the instead its social and historical contingency. The intricate drawings created for wealthy, book-collecting connoisseurs.
Focusing on the lived environment of the library interiors. Together these projects illustrate the possi- historical photographs to illustrate those effects. Created using than the final one on his nineteenth- and early-twen- research by Martin Bressani and Marc Grignon, tieth-century legacy. Next to their graphic and virtual these animations gave us a different understanding riches, the third feels almost redundant.
Here the of Labrouste, one in which he is concerned just as promised focus on Labrouste as a modern architect much with the quality of interior space produced in his own right yielded to the simultaneously more by the structure as with the structure itself. Further, familiar and less interesting story of Labrouste as a they were presented as a nineteenth-century para- pioneer of modern design.
Such scholarship will service his drawings echo theirs in scale, simplicity and geo- and expand the historiography of modern architec- metric rigour. Although these projects might be seen ture begun by Hitchcock in the early twentieth as proto-functionalist in their dedication to the idea century.
But, finally, what seems to matter less of architectural form as a shaper of social behaviour, than genealogical connections between the mid- the exhibition also included works that are much nineteenth-century and today, is the effort to more nuanced in their understanding of the relation- promote Labrouste as eternally contemporary. A revised version of Modern Art, , p. Related Papers.
Henri Labrouste: Structure Brought to Light
It is gorgeous. Fresh eyes were clearly required. These Americans recognized Labrouste as a provocateur and poet with a pen and pencil whose influence reverberated across the centuries. Library officials have proposed removing those historic stacks, which support the main reading room, and replacing them with a circulating branch to be designed by Norman Foster. The stacks, they say, are too dilapidated and unsuited to be modernized.
A Poetry Grounded in Gravity and Air
It is gorgeous. Henri Labrouste is one of the few nineteenth-century architects consistently lionized as a precursor of modern architecture throughout the twentieth century and into our own time. The two magisterial glass-and-iron reading rooms he built in Paris gave form to the idea of the modern library as a collective civic space. His influence was both immediate and long-lasting, not only on the development of the modern library but also on the exploration of new paradigms of space, materials and luminosity in places of great public assembly. Published to accompany the first exhibition devoted to Labrouste in the United States--and the first anywhere in the world in nearly 40 years--this publication presents nearly works in all media, including drawings, watercolors, vintage and modern photographs, film stills and architectural models.