JACQUES-GERMAIN SOUFFLOT. The Pantheon (Ste.

Genevieve), Paris. 1755-92

Claude-Nicolas Ledoux.
Project for the ideal town of Chaux, surrounding the
royal saltworks of Arc-et-Senans,
1804
Atat pentru francmasoni si pentru Ledoux Dumnezeu este arhitectul general al
Universului.

“Arhitectul,in intelepciunea lui, dispune; el coinduce lumea

artistica, si in mandra sa singuratate pune in miscare fulgerul dorintei
divine”, spune Ledoux.

Orasul Chaux este simbolul alchimic a picaturii de sare, un simbol al

crearii unui om nou intr-o lume noua.In acest sens intalnim adesea simboluri
prezente in cladirile construite, precum cea de evaporare care se aseamana
cu arca lui Noe:
”precum un oras plutitor pus intr-un avion plutitor, ca si o arca care tine
omenirea ”. Arca are o importanta deosebita pentru francmasoni deoarece
acestia cred ca ea a fost construita dupa regulile si geometria pe care ei
le impartasesc.

Dupa lexiconul francmason de simboluri, sarea este unul din cele trei
elemente esentiale pe baza careia, o noua lume va fi creata.
“The Ark” Londres, 1990
Ralph Erskine

25.10.20
25.10.20
25.10.20
A building of the Royal Saltworks Maison du Directeur
Salines d'Arc-et-Senans (Jura)
Jean-Jacques Lequeu (1757-1825), a
French architect of fabulously distanced
sight, produced this breathtaking image
in 1792. The Tomb of Lars Porsena,
King of Etruria (the great Etruscan king,
d. ca. 500 BCE ), is just one of hundreds
of works by Lequeu, a re-discovered
architectural genius who worked
during the same era as other
visionary architects such as Etienne
Boullee (1728-1799), Claude-Nicolas
Ledoux (1736-1806),
The Marcel Duchamp
of 18th Century
France: Visionary
Architect Jean-
Jacques Lequeu
Jean-Jacques Lequeu’s Monument to Isocrates

Jean Nicolas Louis DURAND, combinatii
posibile si permutari de planuri (Precis des
lecons donnees a lÉcole Polytechnique 1802-
1809)
The idea of type through Durand
can be understood in two ways;
the first involves the principles that
can be abstracted from building
precedents and
the second involves a generative
method to further these principles in
the design of buildings, utilizing the
abstracted principles or deep
structure.
The second implies a rational
process, the logic of type as a
method; in other words,
typology.
By moving away from the doctrine
of imitation and rejecting the
theories of Vitruvius and Laugier,
Durand moved the practice of
architecture away from the singular
pursuit of beauty – through the
imitation of nature and the human
body – to one which is open ended
and procedural to enable
differentiation.
Jacques Germain Soufflot (July 22, 1713 – August 29, 1780) was a French architect in
the international circle that introduced Neoclassicism. His most famous work is the
Panthéon, Paris, built from 1755 onwards, originally as a church dedicated to Sainte
Genevieve. crossing piers strengthened
Soufflot was entrusted in 1755 with the design
of Sainte-Geneviève, which was intended to be
the principal church of Paris.

His aim in this project was to combine the

strict regularity and monumentality of
Roman arched ceiling vaults with the
lightness of slender supporting piers and
freestanding Corinthian columns.
A contemporary architect claimed that in this
church, Soufflot had “united the lightness of
construction of Gothic churches with the
purity and magnificence of Greek
architecture.” The plan was essentially a Greek
cross, the facade an enormous temple front. The
freestanding columns proved inadequate to
support the building’s dome, which eventually
had to be buttressed. Because of the
predominantly classical origins of the design, it
became a simple matter, when the Revolution
abolished religion, for the church to be
secularized and renamed the Panthéon.
Soufflot considered classical rules
essential for architectural progress.
Utilizing classic principles he used a
'strictness of line, firmness of form,
simplicity of contour, and rigorously
architectonic conception of detail'
which contrasted sharply with the
architecture of his contemporaries.
Soufflot showed an unusual interest
in Gothic architecture at a time when
most architects considered Gothic
architecture barbaric.
In his architecture he tried to unite
the lightness of Gothic construction
with the purity and order of Greek
forms.

His works predicted the eclecticism

that would mark mainstream
Neoclassicism.
 Pendulul lui Foucault, numit după fizicianul francez Léon Foucault, este un dispozitiv
simplu realizat pentru a demonstra rotaţia Pământului în jurul propriei axe. Deşi se ştia de
multă vreme despre mişcarea de rotaţie a planetei, pendului realizat de Léon Foucault în
1851 arăta simplu că acestă teorie este adevărată. Dispozitivul s-a bucurat instantaneu de
mare succes, experimentul iniţial susţinut de Léon Foucault la Paris fiind văzut de foarte
multe persoane.
„Întregul Univers se află în marea sală a Panteonului din Paris. El dirijează pendulul fixat de
cupolă”, a declarat fizicianul german Ernst Mach despre dispozitivul lui Léon Foucault.
One of the many grotesques on the face of the Notre
Dame in Paris added during Viollet-le-Duc's restoration.
This one is commonly called Le Stryge (the strix.)
Eugène Emmanuel Viollet-le-Duc (1814 – 1879) was a French architect and
theorist, famous for his "restorations" of medieval buildings.

An imported idiom:
Viollet-le-Duc's slate-
covered conical towers at
Carcasonne
Abbadia, château construit de 1864 à 1879, près d'Hendaye,
par Viollet-le-Duc
Donjon de Vez
The donjon was contstructed in 1360.
In the 19th century, the complex was restored by Viollet le Duc.
Château de Pierrefonds - Statue de
Viollet le Duc en pélerin de saint
Jacques à l'entrée de la chapelle
Gothic Cathedral, by Eugene
Emmanuel Viollet-le-Duc.
In order to give an idea of
what a cathedral of the 13th
century must have been like,
complete, achieved as
conceived, we give here (18)
a cavalier perspective of an
edifice of that time,
executed after the type
adopted at Reims.
Arc.boutant.abbaye.aux.Hommes
Autel de la Sainte Chapelle haute de Paris
Pierre François Henri Labrouste (11 May 1801–
24 June 1875) was a French architect from the
famous École des Beaux Arts school of architecture.
After a six year stay in Rome, Labrouste opened an
architectural training workshop, which quickly
became the center of the Rationalist view. He was
noted for his use of iron frame construction, and was
one of the first to realize the importance of its use.

Henri Labrouste was born in Paris on May 11, 1801. At the age of 18 he entered the École
des Beaux-Arts as a pupil of A. L. T. Vaudoyer and L. H. Lebas.
In 1824 Labrouste won the Grand Prix de Rome and studied Roman construction at the
Villa Medici (1825-1830). While in Italy he produced a controversial restoration of the
temples at Paestum (1828-1829); his account of the restoration appeared in Les Temples de
Paestum (1877).
On his return to Paris he opened a studio at the École des Beaux-Arts and became a leader of
the rationalist school of thought, which opposed the traditional eclectic approach to
architecture of the period.
Henri Labrouste (1801-1875). Imaginary
reconstruction of an ancient city.

The Pantheon, Rome. Capital and base of a column of the portico. 1825-1830
Henri Labrouste (French, 1801-1875). Project for a cenotaph in memory of La
Pérouse. Main elevation. 1829.
Henri Labrouste (French, 1801-1875). Tomb of Caecilia Metella on the Appian Way,
Rome. Details of the frieze and profile of the entablature. 1825-1830
Henri Labrouste
(1801-1875).
Etruscan tomb,
known as delle Bighe,
Corneto (nowadays
Tarquinia).

Plan of the ceiling

and elevation of the
back wall. 1829
Stockholm Public Library- competition
Bibliotheque Ste. Genevieve

"One of the greatest cultural buildings of the nineteenth century to use iron in a prominent,
visible way was unquestionably the Bibliotheque Ste.-Genevieve in Paris, designed by
Henri Labrouste and built in 1842-50. The large (278 by 69 feet) two-storied structure
filling a wide, shallow site is deceptively simple in scheme: the lower floor is occupied by
stacks to the left, rare-book storage and office space to the right, with a central vestibule
and stairway leading to the reading room which fills the entire upper story.
The ferrous structure of this reading room—a spine of slender, cast-iron Ionic
columns dividing the space into twin aisles and supporting openwork iron arches that
carry barrel vaults of plaster reinforced by iron mesh—has always been revered by
Modernists for its introduction of high technology into a monumental building."
— Marvin Trachtenberg and Isabelle Hyman. Architecture: from Prehistory to Post-
Modernism. p478.
Henri Labrouste (French, 1801-1875). Bibliothèque
Sainte-Geneviève, Paris, 1838-1850. Steel trusses of the
reading room.
 Bibliothèque Ste.-Geneviève,
completed in 1850 after a dozen
years’ work.

The pale stone façade, with its plain

arcade of windows and modest
garlands, is understated to the point
of severity.

The pale stone façade, with its plain arcade of windows and modest garlands, is
understated to the point of severity.

But inside is one of the nineteenth century’s most sublime public interiors, a
reading room as distinctly modern as the exterior is antique.

The vast shed, roofed with a double-barrel vault, evokes a train station of the same
period. In the mid-nineteenth century, mind and body had acquired new kinds of
mobility, and their wanderings required structures that were grand and advanced
Basement plan drawing of the Biblioth�que Sainte-Genevi �ve.
Image: Henri Labrouste
Bibliothèque Sainte-Geneviève, Paris, 1838-1850. Southwest corner: elevation and
section. Late 1850.
Bibliotheque
Nationale, by Henri
Labrouste, at Paris,
France, 1862 to 1868
Labrouste’s
Bibliothèque
Nationale, Paris
(1854-1875)

Labrouste’s second
masterpiece, the
Bibliothèque
Nationale, contains an
even more
breathtaking room,
illuminated by nine
light-filled domes
resting on a cage of
thin iron columns
 MOMA's exhibi
combines drawings and m
Henri Labrouste
"The Reading
Room is covered
with a series of nine
pendentived simple
domes of terra-
cotta, supported by
twelve slender
columns of iron,
aranged in four
rows, the outer
columns standing
close to the walls."
— Sir Bannister
Fletcher, A History
of Architecture,
p1206.
Winners of the Dutch Design Awards 2013 - Spatial
Category
Place Vendôme was laid out in 1702 as a monument to the glory of the armies of Louis
XIV, the Grand Monarque and called Place des Conquêtes, to be renamed Place Louis le
Grand, when the conquests proved temporary; an over life-size equestrian statue of the king
was set up in its centre,
The Brandenburg Gate (German: Brandenburger Tor) is a former city gate, rebuilt in the late
18th century as a neoclassical triumphal arch, and now one of the most well-known landmarks
of Germany.It is located in the western part of the city centre of Berlin, at the junction of Unter
den Linden and Ebertstraße, immediately west of the Pariser Platz. One block to the north
stands the Reichstag building.
The gate is the monumental entry to Unter den Linden, the renowned boulevard of linden
trees, which formerly led directly to the city palace of the Prussian monarchs.
It was commissioned by King Frederick William II of Prussia as a sign of peace and built by
Carl Gotthard Langhans from 1788 to 1791. Having suffered considerable damage in World
War II, the Brandenburg Gate was fully restored from 2000 to 2002
Leo von Klenze (Franz Karl Leopold von Klenze; 1784 1864, Munich) was a German
neoclassicist architect, painter and writer. Court architect of Bavarian King Ludwig
I, Leo von Klenze was one of the most prominent representatives of Greek revival
style.
Johann Fischer von
ErlachReconbstructia templului
lui Zeus din Olimpia
Niedersächsische Landesgalerie. Der Domplatz von Amalfi
(1859)
Leo von Klenze - Neue Pinakothek 9463. Ideale Ansicht der
Akropolis und des Areopag in Athen (1846)
The Walhalla temple is named for Valhalla of Norse mythology. It was conceived in 1807
by Crown Prince Ludwig, who built it upon ascending the throne of Bavaria as King Ludwig
I. Construction took place between 1830 and 1842, under the supervision of architect Leo
von Klenze.
New Hermitage
The Hercules Room
Propyläen - München Königsplatz
Der Camposanto in Pisa, 1858
Alte Pinakothek building in 1900
Albrecht Durer Self-
Portrait at the Alte
Pinakothek, 1500
München: Nationaltheater 1825
 The Glyptothek is a museum in Munich, Germany, which
München / Munich - Glyptothek was commissioned by the Bavarian King Ludwig I to
house his collection of Greek and Roman sculptures
München Glyptothek Kreuzrippengewölbe
ROMANTISMUL GERMAN
172
Caspar David Friedrich - Scogliere a Ruegen
Caspar David
Friedrich,
'Wanderer über
dem Nebelmeer'
(Wanderer
Overlooking the Sea
of Fog) ca. 1817,
Kunsthalle
Replica actuala foto: lacul Como- nordul Italiei
Caspar David Friedrich - The Stages of Life [c.1835]
Man and Woman Contemplating the Moon
(1830–35)
Caspar David Friedrich Greifswald
Turner's Ovid Banished From Rome, 1838
BERLIN
 Karl Friedrich Schinkel
1781 - 1841

Schinkel was the most prominent

architect of neoclassicism in Prussia.

He became a student of Friedrich

Gilly (1772-1800) (the two became
close friends) and his father, David
Gilly, in Berlin. After returning to
Berlin from his first trip to Italy in
1805, he started to earn his living as
a painter.
When he saw Caspar David
Friedrich's painting "Monk by the
sea" (Der Mönch am Meer) at the
1810 Berlin art exhibition he decided
that he would never reach such a
mastership in painting and definitely
turned to architecture. After
Napoleon's defeat, Schinkel oversaw
the Prussian Building Commission.
Karl Friedrich Schinkel (March 13, 1781 - October 9, 1841)
German architect and painter.

Schinkel was the most prominent architect of neoclassicism

in Prussia.

He became a student of Friedrich Gilly (1772-1800) (the two

became close friends) and his father, David Gilly, in Berlin.
After returning to Berlin from his first trip to Italy in 1805, he
started to earn his living as a painter.
When he saw Caspar David Friedrich's painting "Monk by the
sea" (Der Mönch am Meer) at the 1810 Berlin art exhibition
he decided that he would never reach such a mastership in
painting and definitely turned to architecture. After
Napoleon's defeat, Schinkel oversaw the Prussian Building
Commission.
20/10/25
Schinkel, Karl
Friedrich
(1781-1841) -
1810 Study for
a Monument
to Queen
Louise
(National
Gallery, Berlin
Schinkel, Karl Friedrich (1781-1841) - 1813 Morning (National Gallery, Berlin)
Medieval Town by Water
Schinkel, Karl
Friedrich (1781-
1841) - 1818 The
Gate in the Rocks
(State Museum,
Berlin)
Schinkel, Karl
Friedrich (1781-
1841) - 1816
Portrait of the
Artist's
Daughter, Marie
(State Museum,
Berlin)
Schinkel, Karl Friedrich (1781-1841) - 1813c. Medieval Town by Water (Neue
Pinakothek, Munich)
Mozart”Flautul fermecat”
Schinkel's style, in his most productive period, is defined by a turn to Greek rather
than Imperial Roman architecture, an attempt to turn away from the style that was
linked to the recent French occupiers. (Thus, he is a noted proponent of the Greek
Revival.) His most famous buildings are found in and around Berlin.

These include Neue Wache (1816-1818), the Schauspielhaus (1819-1821) at the

Gendarmenmarkt, which replaced the earlier theater that was destroyed by fire in
1817, and the "Old" Museum or Altes Museum (see photo) on Museum Island (1823-
1830).

Schinkel, however, is noted as much for his theoretical work and his architectual drafts
as for the relatively few buildings that were actually executed to his designs. Maybe
his merits are best shown in his unexecuted plans for the transformation of the
athenian Acropolis into a royal palace for the new Kingdom of Greece and for the
erection of the Orianda Palace in the Crimea.

These and other designs may be studied in his Sammlung architektonischer Entwürfe
(1820-1837) and his Werke der höheren Baukunst (1840-1842; 1845-1846). He also
designed the famed Iron Cross medal of Prussia, and later Germany.
Berlin Schinkel Statue
Karl Friedrich Schinkel was the architect responsible for many of Berlin's Prussian-era
neoclassical buildings and a noted practitioner of that style.
ELISABETHCHIRCHE
Berlin Bauakademie Reconstruction
The Bauakademie was a significant technical and architectural school designed by Karl Friederich
Schinkel. Although the original building was completed in 1836, the East German government
demolished it in the 1960s. Personally, while I think the destruction of something this significant
was a major loss, I am not sure I like the idea of building a replica decades after the fact.
Neue Wache (Berlin 1817-1818) - Karl Friedrich Schinkel
The Neue Wache (New Guard House) is a
building in central Berlin, the capital of
Germany. It is located on the north side of the
Unter den Linden, a major east-west
thoroughfare in the centre of the city. Dating
from 1816, the Neue Wache was designed by
the architect Karl Friedrich Schinkel and is a
leading example of German neoclassicism.

Originally built as a guardhouse for the troops

of the Crown Prince of Prussia, the building has
been used as a war memorial since 1931.
King Friedrich Wilhelm III of Prussia ordered the
construction of the Neue Wache as a guard
house for the nearby Palace of the Crown
Prince, to replace the old Artillery Guard House.

He commissioned Schinkel, the leading

exponent of neoclassicism in architecture, to
design the building: this was Schinkel's first
major commission in Berlin
ALTES MUSEUM
"The facade unity achieved in the Schinkel museum derives from the
expression of the vertical elements as a freestanding colonnade set into
a tight frame provided by end walls, base, and roof. Termination of the
facade by walls instead of columns and the use of the classical device of
narrowing the end spacing allow the colonnade to be perceived as an
entity, like seeing the forest before the trees. Moreover, a row of
columns set in front of a wall always constitutes a figure-ground
relationship. While the columns play the more readily apparent part of
figures, the spaces between them can be equally effective figures."
David Chipperfield aims to retain the spirit of the ruin as he merges new and in his
20/10/25
Neues Museum restoration.
Altes Museum, Berlin, by Schinkel
Front facade of the Altes Museum,
Berlin, built between 1825 and 1828
by the architect Karl Friedrich Schinkel.
Built to resemble the Greek Stoa in
Athens.
SCHAUSPIELHAUS BERLIN
The Gendarmenmarkt is a spectacular square comprised of three stunning structures, and is
one of the true gems of the city. The French Cathedral (right) was built in 1705 for French
Huguenots who settled in Berlin. The Concert Hall (center) is an amazing Neo-Classical building
that was designed by Berlin's best architect, Karl Friedrich Schinkel. It was built in 1821 after a
fire destroyed the National Theater in 1817, which had occupied the same location. The German
Cathedral (left) is very similar to the French Cathedral and was built for German Protestants in
1708.
The German Cathedral (left) is very similar to the French Cathedral and
was built for German Protestants in 1708.
Friedrichswerdersche Kirche (Schinkel-Museum)
The church is designed by Karl Friedrich Schinkel. Now it is a museum
devoted to this great architect.
Friedrichswerder Church
Schinkel-Museum
Berlin, Schinkel-Museum
Berlin Brandenburger Tor
Carl Gotthard Langhans from 1788 to 1791. 

297
King Frederick William II of Prussia as a sign of
peace and built by Carl Gotthard Langhans from
1788 to 1791. Having suffered considerable damage
in World War II, the Brandenburg Gate was fully
restored from 2000 to 2002