Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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CHAPTER 3<br />
NEOCLASSICAL, NEOGOTHIC,<br />
BEAUX-ARTS (1750–1870)<br />
The neoclassical movement cannot be viewed as a universally consistent doctrine that dominated<br />
a specific location. Not easily definable, it was prevalent throughout Europe and extended abroad<br />
to places such as the United States and Asia. This new (and renewed) view <strong>of</strong> antiquity was subject<br />
to extensive and varied interpretation, from archaeological neoclassical, neogothic, visionary/<br />
revolutionary neoclassical, English neo-palladianism, and Greek and Roman revivals. Although an<br />
extension <strong>of</strong> methods developed in the Renaissance and baroque, sketching techniques were varied<br />
reflecting media and intent. From the academy traditions <strong>of</strong> the Ecole des Beaux-Arts the concept <strong>of</strong><br />
esquisse, the sketch as an organizational diagram, emerged.<br />
Most refined in France, neoclassicism emerged out <strong>of</strong> baroque classical and was substantially transformed<br />
from that <strong>of</strong> the fifteenth century. In reaction to the apparent unrestraint <strong>of</strong> baroque architecture,<br />
neoclassical architects desired a return to what was perceived as the principles <strong>of</strong> architecture<br />
(Broadbent, 1980). Numerous late baroque architects never embarked upon pilgrimages to the antiquities<br />
<strong>of</strong> the south, but in the middle <strong>of</strong> the eighteenth century, James Stuart and Nicholas Revett traveled<br />
to record the antiquities <strong>of</strong> Greece. Similar versions <strong>of</strong> their findings were eventually published <strong>by</strong><br />
Julien-David LeRoy in 1758 (Broadbent, 1980). This renewed view <strong>of</strong> antiquity, tempered <strong>by</strong> the<br />
rational thought <strong>of</strong> philosophers such as Decartes and Rousseau, emerged as a ‘static method <strong>of</strong> design.’<br />
It was exemplified <strong>by</strong> principles <strong>of</strong> order, symmetry, and harmony, embodied in a French national<br />
style sponsored <strong>by</strong> the monarchy (Kaufmann, 1955; Trachtenberg and Hyman, 1986; Egbert, 1980).<br />
This restrained French classicism was partially influenced <strong>by</strong> the enlightenment ideal <strong>of</strong> humanity as<br />
innocent and rational, harking back to a perceived naïveté <strong>of</strong> early cultures and the ‘primitive hut’<br />
(Trachtenberg and Hyman, 1986; Laugier, 1977).<br />
The architectural historian Joseph Rykwert writes that the ‘classic’ for these philosophers and<br />
architects meant both antique and ‘excellent and choice.’ They believed in a unified and natural<br />
approach, in the sense <strong>of</strong> real or genuine (Rykwert, 1980; Broadbent, 1980). As a result <strong>of</strong> these attitudes,<br />
architecture displayed Greek, Roman, or Renaissance detail and/or the use <strong>of</strong> pure geometric<br />
form. <strong>Architect</strong>s were much more prone to be concerned with the building’s form than its construction<br />
techniques. The beaux-arts taught the conventions <strong>of</strong> symmetry and experience <strong>of</strong> the<br />
space, but the invariably accepted medium was masonry. The advent <strong>of</strong> iron as a structural building<br />
material, as introduced <strong>by</strong> Henri Labrouste, meant that architects were required to consider new<br />
methods <strong>of</strong> assembly. An evolution in building materials and construction toward the end <strong>of</strong> the<br />
nineteenth century required those on the site to rethink assembly; but architects also had to consider<br />
joints and connections.<br />
This resulted in the production <strong>of</strong> sketches and drawings to explain and develop these innovations.<br />
Exploratory sketches and explicit drawings were required for resolution and clarification. Although<br />
architects (up to the middle <strong>of</strong> the nineteenth century) were still primarily concerned with form and<br />
not construction, some semblance <strong>of</strong> construction drawings appear in France at this time. Although<br />
Marc-Antoine Laugier writes about structure in his essay on architecture, he presents his theory in<br />
aesthetic terms (Laugier, 1977). Similarly, Eugène-Emmanuel Viollet-le-Duc’s Dictionnaire raisonné<br />
contains a section describing historic masonry construction (Viollet-le-Duc, 1990).<br />
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