4145-4146

INTRODUCCION: LO VISCERAL VS LO ACADEMICO

-- DURAND VS BOULEE

PRIMERA PARTE: LA PERCEPCION DE LA SUPERFICIE

-- FORMA VS CONTORNO

-- DEFINICION DEL OBJETO

-- FICCION DE SIMBOLO VS COBERTIZO

SEGUNDA PARTE: LA PERCEPCION DEL ORDEN

-- DERIVACION VS DESVIACION

-- DEFINICION DEL ESQUEMA

-- FICCION DE COMPOSICION VS MORFOLOGIA

TERCERA PARTE: LA PERCEPCION DE LA AUTORIA

-- TRADUCCION VS ORIGINALIDAD

-- DEFINICION DEL ESTILO

-- FICCION DE INVENCION VS TIPOLOGIA

POSTCRIPT: INFLUENCE, ECHOES, ALLUSIONS

-- EL ROMANTICISMO CLASICO VS EL CLASICISMO ROMANTICO

Jean-Nicolas-Louis Durand (1760–1834) regarded the Précis of the Lectures on Architecture (1802–5) and its companion volume, the Graphic Portion (1821), as both a basic course for future civil engineers and a treatise. Focusing the practice of architecture on utilitarian and economic values, he assailed the rationale behind classical architectural training: beauty, proportionality, and symbolism. His formal systematization of plans, elevations, and sections transformed architectural design into a selective modular typology in which symmetry and simple geometrical forms prevailed. His emphasis on pragmatic values, to the exclusion of metaphysical concerns, represented architecture as a closed system that subjected its own formal language to logical processes.

DRAWING [ON] THE SUBLIME: REPRESENTATION OF THE UNREALIZED PROJECT AND THE SUBORDINATION OF THE REAL
….….Etienne-Louis Boullée (1728-1799) was an architect whose mature adult life coincided with the French Revolution……he saw more possibilities of evoking sublimity in painting than in the realization of architecture, making representation all the more critical, regardless of a project’s practicability: he focused on more idealized programs illustrating to what architectural form can aspire…….…