En su Teoría defiende que el restaurador debe ponerse en la piel del arquitecto, como he dicho para aplicar el espíritu creador en la restauración y devolver al edificio su forma original o como debió haber sido. La aplicación de esta teoría se produjo principalmente en edificios góticos, ya que este estilo era considerado por Le Duc superior tanto técnica como estéticamente. La “unidad de estilo” pretendía resalta los elementos que caracterizaban al edificio medieval, lo que suponía eliminar aspectos añadidos posteriormente. Esto ha supuesto en numerosas ocasiones la desaparición de añadidos que resultaban interesantes por su calidad e incluso por su valor histórico y artístico, se borraban las huellas que había dejado el paso del tiempo.
La argumentación teórica y doctrinal de Viollet-le Duc se basa en el profundo conocimiento de la edificación y técnica constructiva medieval adquirido en sus años de arquitecto restaurador. Los principios de métodos de construcción lógicos que vieron la luz en el siglo XIII engendraron una arquitectura con estructura, cuya perfecta y más audaz expresión se ve reflejada en las grandes catedrales. Según él, hubo que esperar a que la cultura secular de las ciudades eliminara las reglas estáticas de la arquitectura monástica románica para que los burgueses se hiciesen cargo de grandes proyectos comunales. Los constructores lograron así la libertad de trabajar conforme a la lógica y la razón, sin perder de vista las leyes naturales.
Una de las restauraciones más sonadas entre las que estuvo a la cabeza Le Duc fue en la catedral de Notre Dame de París. Bajo la nueva luz del pensamiento romántico se inicia un programa de restauración de la catedral en 1844 y se extendió durante veintitrés años.
Entre las modificaciones que se hicieron destacan: la inserción de gabletes en las ventanas, el rosetón sur enteramente nuevo, el cambio de la piedra de los arbotantes por piedra nueva, la reconstrucción de todas las capillas interiores y altares, la colocación de estatuas en la Galería de los Reyes, parcialmente destruida durante la Revolución Francesa; también se añadieron a la catedral numerosas gárgolas que configuran una de sus imágenes más características. Y se planeó un aislamiento de la catedral, derribando todos los edificios de los alrededores.
Alicia Serrano
VIOLLET LE DUC AND HIS INTERVENTION IN THE MEDIEVAL EPOCH
Eugene Viollet Le Duc (1814-1879) was architect, archeologist and restorer, famous for his " Theory of the restoration " and his corresponding application to the medieval French sets, fundamentally in the Gothic revival. His restorations sought to show the best possible condition of the building, better even that in his original condition is to say, it was seeking to obtain the aspect with the one that was projected in his epoch, in spite of the fact that this one could not have been reached.
In his Theory it defends on that the restorer must put in the skin of the architect, since I have said to apply the creative spirit in the restoration and to return to the building his original form or as it have should to have been. The application of this theory took place principally in Gothic buildings, since this style top Duc was considered for Him so much technical as aesthetically. The " unit of style " was claiming it highlights the elements that were characterizing to the medieval building, which supposed eliminating aspects added later. This has supposed in numerous occasions the disappearance of added that were turning out to be interesting for his quality and even for his historical and artistic value, there were resigning the fingerprints that the passage of time had left.
Viollet's theoretical and doctrinal argumentation - Him Duc restorer bases on the deep knowledge of the building and constructive medieval technology acquired on his years of architect. The beginning of logical methods of construction that saw the light in the 13th century generated an architecture with structure, which perfect one and bolder expression meets reflected in the big cathedrals. According to him, it was necessary to hope that the secular culture of the cities was eliminating the static rules of the monastic Romanesque architecture in order that the bourgeoises were taking charge of big communal projects. The builders achieved this way the freedom of working in conformity with the logic and the reason, without losing of sight the natural laws.
One of the most famous restorations between which it was to the head Him Duc was in the cathedral of Notre Dame of Paris. Under the new light of the romantic thought there begins a program of restoration of the cathedral in 1844 and it spread for twenty-three years.
Between the modifications that were done they stand out: the insertion of gables in the windows, the south entirely new rosette, the change of the stone of the buttresses for new stone, the reconstruction of all the interior chapels and altars, the placement of statues in the Gallery of the Kings, partially destroyed during the French Revolution; also were added to the cathedral numerous gargoyles that form one of his more typical images. And an isolation of the cathedral was planned, knocking down all the buildings of the surroundings.
Alicia Serrano
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