Architecture, Multitude and the Analogical City as a Critical Project

This article develops a theory of the multitude for architecture. It is a close-reading of political theorist Paolo Virno’s concept of the multitude and its associated categories of language, repetition and what Virno calls “real abstraction.” The article transposes those categories to the thought of Aldo Rossi on typology, the city as a text and the analogical city. The aim is to explore the conditions of possibility for a renewed critical project for architecture and to articulate architecture’s capacity for framing a collective political subject. The key questions addressed are therefore how does Virno’s grammar of the multitude translate into an architectural grammar for the city; and how can architecture frame a collective political subject

Le musée français: guerras napoleônicas, coleções artísticas e o longínquo destino de um livro

This paper is about Le Musée Français [The French Museum], a book found in the collection of the library of the Imperial Academy of Fine Arts in Rio de Janeiro. As a catalog of the Napoleon Museum, it bears witness to the reorganization of the arts in Europe as a result of the Napoleonic wars and the project of making Paris a true successor to Athens and Rome, as the center of a new republic of the arts. This process was the object of a dispute where Quatremère de Quincy and Joachim Lebreton played an important role. It was also one of the causes leading to the exile of a group of artists who then helped to lay the foundations for an academic environment in Rio de Janeiro.O artigo trata de Le musée français, livro que fez parte da coleção da biblioteca da Academia Imperial das Belas Artes, no RiodeJaneiro. Como catálogo do Museu Napoleão, é testemunho do processo de reordenamento, resultante das guerras napoleônicas, do universo das artes na Europa e do projeto de fazer de Paris a legítima herdeira de Atenas e Roma, como centro de uma nova idéia de república das artes. Processo esse que foi objeto de disputa, em que se destacaram Quatremère de Quincy eJoachim Lebreton, e foi uma das causas do exílio do grupo de artistas que esteve na origem da formação do ambiente acadêmico no Rio de Janeiro

Mémoire sur le défi d'Apelles et de Protogènes, ou Eclaircissemens sur le passage dans lequel Pline rend compte du combat de dessin qui eut lieu entre ces deux peintres

Quatremère de Quincy Antoine. Mémoire sur le défi d'Apelles et de Protogènes, ou Eclaircissemens sur le passage dans lequel Pline rend compte du combat de dessin qui eut lieu entre ces deux peintres. In: Histoire et mémoires de l'Institut royal de France, tome 5, 1821. pp. 300-336

Histoire de la vie et des ouvrages des plus celèbres architectes de 1050 a 1800, accompagnée de la vue du plus remarquabe édifice de chacun d'eux, par M. Quatremère de Quincy, ... 2 Volumes grand in-8°, avec 47 planches, ...

HISTOIRE DE LA VIE ET DES OUVRAGES DES PLUS CELÈBRES ARCHITECTES DE 1050 A 1800, ACCOMPAGNÉE DE LA VUE DU PLUS REMARQUABE ÉDIFICE DE CHACUN D'EUX, PAR M. QUATREMÈRE DE QUINCY, ... 2 VOLUMES GRAND IN-8°, AVEC 47 PLANCHES, ... Histoire de la vie et des ouvrages des plus celèbres architectes de 1050 a 1800, accompagnée de la vue du plus remarquabe édifice de chacun d'eux, par M. Quatremère de Quincy, ... 2 Volumes grand in-8°, avec 47 planches, ... (1

Geschichte der berühmtesten Architekten und ihrer Werke : vom XI. bis zum Endes des XVIII. Jahrhunderts

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La statue en or et ivoire de Zeus à Olympie, en Élide (Grèce)

Cette gigantesque statue réalisée au V e siècle avant J.-C. par le célèbre sculpteur athénien Phidias était faite de bois plaqué de deux matières précieuses entre toutes : l'or et l'ivoire. On parlait alors de statue chryséléphantine (de chrysos , or, et elephantinos , ivoire). Détruite par un incendie au V e siècle après J.-C., la statue garde tout son mystère car aucune copie de bronze ou de marbre ne nous est parvenue, alors que les œuvres si célèbres étaient généralement abondamment copiées.téléchargeabl

Panthéon

View down the transept, depicting the east wall of the north transept; Early in 1755 Soufflot was appointed to provide plans for Ste Geneviève, the new church promised by Louis XV to house the reliquary of the city's patron saint. A collection of drawings (Paris, Bib. N.) and Claude Boulleau's engraving of 1764 show the building in its 'ideal' state in that year. Built partly over a crypt, where, for the first time, Soufflot used the Doric order of Paestum, it owes its grandeur to his use of the same colossal Corinthian order both inside and out. A heavy pediment emphasizes the dignity of the main entrance; this dominates the vast esplanade planned around the church. From 1791, following a Revolutionary decree, the church was altered into the Panthéon des Grands Hommes. Antoine Quatremère de Quincy had the buttresses demolished and, more crucially, the lower windows blocked up; this radically altered the lighting effects Soufflot had sought to achieve. Having removed the religious sculpture, Quatremère supplied a new programme for decorating the pediments (finally executed by David d'Angers in 1837). [Among those buried in its necropolis are Toussaint Louverture, Voltaire, Rousseau, Marat, Victor Hugo, Émile Zola, Jean Moulin, Marie Sklodowska-Curie, Louis Braille, Jean Jaurès and Soufflot, its architect.] Source: Grove Art Online; http://www.groveart.com/ (accessed 1/25/2008

Panthéon

Close view of drum, depicting columns with alternate bay behind; Early in 1755 Soufflot was appointed to provide plans for Ste Geneviève, the new church promised by Louis XV to house the reliquary of the city's patron saint. A collection of drawings (Paris, Bib. N.) and Claude Boulleau's engraving of 1764 show the building in its 'ideal' state in that year. Built partly over a crypt, where, for the first time, Soufflot used the Doric order of Paestum, it owes its grandeur to his use of the same colossal Corinthian order both inside and out. A heavy pediment emphasizes the dignity of the main entrance; this dominates the vast esplanade planned around the church. From 1791, following a Revolutionary decree, the church was altered into the Panthéon des Grands Hommes. Antoine Quatremère de Quincy had the buttresses demolished and, more crucially, the lower windows blocked up; this radically altered the lighting effects Soufflot had sought to achieve. Having removed the religious sculpture, Quatremère supplied a new programme for decorating the pediments (finally executed by David d'Angers in 1837). [Among those buried in its necropolis are Toussaint Louverture, Voltaire, Rousseau, Marat, Victor Hugo, Émile Zola, Jean Moulin, Marie Sklodowska-Curie, Louis Braille, Jean Jaurès and Soufflot, its architect.] Source: Grove Art Online; http://www.groveart.com/ (accessed 1/25/2008

Panthéon

View looking up in the north transept, depicting the dome over the north transept, followed by the crossing dome, and the south transept; Early in 1755 Soufflot was appointed to provide plans for Ste Geneviève, the new church promised by Louis XV to house the reliquary of the city's patron saint. A collection of drawings (Paris, Bib. N.) and Claude Boulleau's engraving of 1764 show the building in its 'ideal' state in that year. Built partly over a crypt, where, for the first time, Soufflot used the Doric order of Paestum, it owes its grandeur to his use of the same colossal Corinthian order both inside and out. A heavy pediment emphasizes the dignity of the main entrance; this dominates the vast esplanade planned around the church. From 1791, following a Revolutionary decree, the church was altered into the Panthéon des Grands Hommes. Antoine Quatremère de Quincy had the buttresses demolished and, more crucially, the lower windows blocked up; this radically altered the lighting effects Soufflot had sought to achieve. Having removed the religious sculpture, Quatremère supplied a new programme for decorating the pediments (finally executed by David d'Angers in 1837). [Among those buried in its necropolis are Toussaint Louverture, Voltaire, Rousseau, Marat, Victor Hugo, Émile Zola, Jean Moulin, Marie Sklodowska-Curie, Louis Braille, Jean Jaurès and Soufflot, its architect.] Source: Grove Art Online; http://www.groveart.com/ (accessed 1/25/2008

Junon d'Argos : Le Jupiter olympien, ou l'Art de la sculpture antique considéré sous un nouveau point de vue...

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