Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0001
Vinegar
Abstract:Like a phoenix from the flames, the nineteenth-century French restorer and architectural theorist Eugène Viollet-le-Duc’s name was resurrected from the ashes of the fire that consumed Notre-Dame cathedral on the evening of April 15, 2019. But the invocation of Viollet-le-Duc’s legacy in the aftermath of the burning of Notre-Dame Cathedral was, more often than not, a firewall against engaging with the disturbing and still relevant core of his practice and theory of restoration. This essay tarries with this virtual and inexhaustible core through three scenes of conflagration that illuminate the fire and passion of his thinking for our time.
{"title":"In Flagrante: On Some Burning Questions for Restoration","authors":"Vinegar","doi":"10.5749/futuante.17.1.0001","DOIUrl":"https://doi.org/10.5749/futuante.17.1.0001","url":null,"abstract":"Abstract:Like a phoenix from the flames, the nineteenth-century French restorer and architectural theorist Eugène Viollet-le-Duc’s name was resurrected from the ashes of the fire that consumed Notre-Dame cathedral on the evening of April 15, 2019. But the invocation of Viollet-le-Duc’s legacy in the aftermath of the burning of Notre-Dame Cathedral was, more often than not, a firewall against engaging with the disturbing and still relevant core of his practice and theory of restoration. This essay tarries with this virtual and inexhaustible core through three scenes of conflagration that illuminate the fire and passion of his thinking for our time.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"30 1","pages":"1 - 16"},"PeriodicalIF":0.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76543398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0047
Lindsay Cook
Abstract:This article considers the use of plaster casting, an artistic technology, and silicatization, a scientific technology, in Jean-Baptiste Lassus and Eugène-Emmanuel Viollet-le-Duc’s nineteenth-century restoration of Notre-Dame of Paris. Plaster casting, practiced widely in academic artistic circles in the century prior to the restoration campaign, facilitated the work of the sculptors who toiled in the lodge just south of the cathedral’s southern face. The technology was employed in the early years of the restoration campaign and merited mention in an entry recorded by Lassus in the architects’ daybook of 1847. Entries in the 1853–59 daybooks from Viollet-le-Duc’s pen attest to the sustained use of silicatization, a process that involved coating the building’s limestone surfaces in a protective layer of water-soluble sodium silicate. Its practitioners touted it as a miraculous technology that would “stop the ravages of time on monuments.” Plaster casting was a tried-and-true artistic technology, exploited at Notre-Dame to a novel end, whereas silicatization was a cutting-edge application of water glass, the German chemist Johann von Fuchs’s early-nineteenth-century invention. This article places Lassus and Viollet-le-Duc’s restoration practice of the 1840s and 1850s at the crossroads between art and science, between nationalist competition and international collaboration, and considers what we might learn from their approach for the twenty-first-century restoration following the 2019 cathedral fire.
摘要:本文考察了19世纪让-巴蒂斯特·拉苏斯和欧格朗-伊曼纽尔·维奥莱-勒-杜克修复巴黎圣母院时，石膏浇铸这一艺术技术和硅化这一科学技术的运用。在修复运动之前的一个世纪里，石膏浇铸在学术艺术界广泛使用，这为雕塑家们的工作提供了便利，他们在大教堂南侧的小屋里辛苦劳作。这项技术在修复运动的早期被采用，在1847年拉苏斯在建筑师日记本上记录的条目中值得提及。Viollet-le-Duc在1853年至1859年的日记中记录了硅化的持续使用，这一过程涉及在建筑的石灰石表面涂上一层水溶性硅酸钠保护层。它的实践者将其吹捧为一种神奇的技术，可以“阻止时间对纪念碑的破坏”。石膏铸造是一种久经考验的艺术技术，在巴黎圣母院得到了新奇的利用，而硅化是水玻璃的尖端应用，是德国化学家约翰·冯·富克斯(Johann von Fuchs) 19世纪初的发明。本文将Lassus和Viollet-le-Duc在19世纪40年代和50年代的修复实践置于艺术与科学、民族主义竞争与国际合作的十字路口，并考虑我们可以从他们在2019年大教堂火灾后的21世纪修复方法中学到什么。
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Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0019
Richard Wittman
Abstract:The public anguish, debates, recriminations, and political struggles that have come in the wake of the April 2019 fire that destroyed the roof and spire of Notre-Dame in Paris are not without precedent. The present essay—a revised and extended version of a text first published in September 2019 in Places Journal—relates the post-fire saga of Notre-Dame to an uncannily similar (if rarely noted) nineteenth-century precedent: the debate and reconstruction of the early Christian basilica of San Paolo fuori le mura (Saint Paul’s Outside the Walls) subsequent to its destruction by fire in 1823. The essay aims to use the remarkably suggestive parallels between the two events as a means of informing the current debate.
摘要:2019年4月巴黎圣母院屋顶和塔尖被大火烧毁后，公众的痛苦、辩论、指责和政治斗争并非没有先例。本文是2019年9月首次发表在《地方杂志》(Places journal)上的一篇文章的修订版和扩展版，它将巴黎圣母院火灾后的传奇故事与19世纪的一个惊人相似(但很少有人注意到)的先例联系起来:1823年被大火烧毁的早期基督教大教堂圣保罗大教堂(San Paolo fuori le mura)的辩论和重建。这篇文章旨在利用这两个事件之间引人注目的相似之处，为当前的辩论提供信息。
{"title":"Churches and States (Updated)","authors":"Richard Wittman","doi":"10.5749/futuante.17.1.0019","DOIUrl":"https://doi.org/10.5749/futuante.17.1.0019","url":null,"abstract":"Abstract:The public anguish, debates, recriminations, and political struggles that have come in the wake of the April 2019 fire that destroyed the roof and spire of Notre-Dame in Paris are not without precedent. The present essay—a revised and extended version of a text first published in September 2019 in Places Journal—relates the post-fire saga of Notre-Dame to an uncannily similar (if rarely noted) nineteenth-century precedent: the debate and reconstruction of the early Christian basilica of San Paolo fuori le mura (Saint Paul’s Outside the Walls) subsequent to its destruction by fire in 1823. The essay aims to use the remarkably suggestive parallels between the two events as a means of informing the current debate.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"91 1","pages":"19 - 45"},"PeriodicalIF":0.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83761234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0097
F. Bandarin
Abstract:On April 15, 2019, the cathedral of Notre-Dame of Paris suffered a major disaster: a fire destroyed its eight-hundred-year-old roof, the nineteenth-century spire, and threatened other parts of the building. An effective intervention by the firemen managed to contain the damages and saved the other parts of the cathedral from destruction. The disaster caused huge emotional reactions throughout the world, highlighting the symbolism of Notre-Dame as a place of spiritual and historical values, enshrined in its World Heritage status.The restoration and reconstruction of Notre-Dame has become an important case for Heritage conservation. There are many significant issues at stake: the way in which monuments are protected from risks; the approach and the methodologies of architectural reconstruction; the role played by technical, financial and institutional actors; the relationship between politics and heritage in a highly symbolic place; and finally, the role played by its World Heritage status. The choices for the reconstruction of Notre-Dame have significant impacts on future conservation and restoration projects.
{"title":"The Restoration and Reconstruction of Notre-Dame of Paris: A Test for the Profession","authors":"F. Bandarin","doi":"10.5749/futuante.17.1.0097","DOIUrl":"https://doi.org/10.5749/futuante.17.1.0097","url":null,"abstract":"Abstract:On April 15, 2019, the cathedral of Notre-Dame of Paris suffered a major disaster: a fire destroyed its eight-hundred-year-old roof, the nineteenth-century spire, and threatened other parts of the building. An effective intervention by the firemen managed to contain the damages and saved the other parts of the cathedral from destruction. The disaster caused huge emotional reactions throughout the world, highlighting the symbolism of Notre-Dame as a place of spiritual and historical values, enshrined in its World Heritage status.The restoration and reconstruction of Notre-Dame has become an important case for Heritage conservation. There are many significant issues at stake: the way in which monuments are protected from risks; the approach and the methodologies of architectural reconstruction; the role played by technical, financial and institutional actors; the relationship between politics and heritage in a highly symbolic place; and finally, the role played by its World Heritage status. The choices for the reconstruction of Notre-Dame have significant impacts on future conservation and restoration projects.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"17 1","pages":"110 - 97"},"PeriodicalIF":0.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84966544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0081
Emily L. Spratt
Abstract:In the immediate aftermath of the devastating fire that ravaged Notre-Dame de Paris on April 15–16, 2019, the French government announced a competition for the reconstruction of the cathedral’s spire. This article examines several preliminary plans from architects and designers responding to the April 17 call for proposals and the notable effect of digital technologies in the realization of all the designs. Through a comparison of these plans to the restorations made by Eugène-Emmanuel Viollet-le-Duc to the church in the middle of the nineteenth century, approaches to the problematic concept of the Gothic style are emphasized. In this analysis, attention is placed on the surprising theoretical similarities between notions of the Gothic and the digital despite their drastically different historical origins as ideas. Brought together, the need for clarification of the conceptual significance of the future, digitally-enabled Gothic edit for Notre-Dame de Paris emerges as an essential aspect of the building’s preservation as a historic monument. Given the sensibilities of our digital age of permanent impermanence, idealism, and the possibility of the forever future edit, the potential reconstruction of Notre-Dame de Paris offers unbounded architectural temptations and the possibilities of every Gothic variety that require tempering.
{"title":"On the Gothic Edits of Notre Dame de Paris","authors":"Emily L. Spratt","doi":"10.5749/futuante.17.1.0081","DOIUrl":"https://doi.org/10.5749/futuante.17.1.0081","url":null,"abstract":"Abstract:In the immediate aftermath of the devastating fire that ravaged Notre-Dame de Paris on April 15–16, 2019, the French government announced a competition for the reconstruction of the cathedral’s spire. This article examines several preliminary plans from architects and designers responding to the April 17 call for proposals and the notable effect of digital technologies in the realization of all the designs. Through a comparison of these plans to the restorations made by Eugène-Emmanuel Viollet-le-Duc to the church in the middle of the nineteenth century, approaches to the problematic concept of the Gothic style are emphasized. In this analysis, attention is placed on the surprising theoretical similarities between notions of the Gothic and the digital despite their drastically different historical origins as ideas. Brought together, the need for clarification of the conceptual significance of the future, digitally-enabled Gothic edit for Notre-Dame de Paris emerges as an essential aspect of the building’s preservation as a historic monument. Given the sensibilities of our digital age of permanent impermanence, idealism, and the possibility of the forever future edit, the potential reconstruction of Notre-Dame de Paris offers unbounded architectural temptations and the possibilities of every Gothic variety that require tempering.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"220 1","pages":"81 - 95"},"PeriodicalIF":0.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74876487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-05DOI: 10.5749/futuante.17.1.0075
Otero-Pailos
Abstract:Published four days after the fire at Notre-Dame Cathedral, this opinion piece rebuked the hasty decision by then French President Emmanuel Macron to replace the spire destroyed in the conflagration with one in a contemporary style. Otero-Pailos took particular issue with the process announced by the French government to hold an international competition to award an architect all of the decision-making power to determine the aesthetics of the new elements. While appearing to be forward looking, this process actually harkened back to antiquated nineteenth-century preservation methods in its fixation on the visual form of the architectural object, and its effective exclusion of the voices of ordinary citizens. Against this old model, Otero-Pailos argued for setting up an inclusive participatory social process to ascertain the kinds of aesthetic experiences that are meaningful to people who are emotionally involved in this heritage place. Such a process would result in identifying the significance of unexpected character-defining aesthetic elements of Notre-Dame, such as its smell, in addition to its visual appearance. If conducted without a bias toward positive emotions, the process would raise awareness of the negative emotions that the interested public associates with the aesthetic experiences of Notre-Dame. Such awareness would in turn help keep questions of fairness at the center of the preservation process, attuning it to the demands for social justice and making politicians and preservation professionals accountable for how it might be achieved, not only through new experimental preservation aesthetics but also through new financial models, such as redistributing the enormous sums of private capital raised by the fire to other heritage sites and communities in more precarious states.
{"title":"In Notre-Dame, We Find a Heritage That Invites Us to Breathe and Reflect: A Spire Competition Is the Wrong Approach","authors":"Otero-Pailos","doi":"10.5749/futuante.17.1.0075","DOIUrl":"https://doi.org/10.5749/futuante.17.1.0075","url":null,"abstract":"Abstract:Published four days after the fire at Notre-Dame Cathedral, this opinion piece rebuked the hasty decision by then French President Emmanuel Macron to replace the spire destroyed in the conflagration with one in a contemporary style. Otero-Pailos took particular issue with the process announced by the French government to hold an international competition to award an architect all of the decision-making power to determine the aesthetics of the new elements. While appearing to be forward looking, this process actually harkened back to antiquated nineteenth-century preservation methods in its fixation on the visual form of the architectural object, and its effective exclusion of the voices of ordinary citizens. Against this old model, Otero-Pailos argued for setting up an inclusive participatory social process to ascertain the kinds of aesthetic experiences that are meaningful to people who are emotionally involved in this heritage place. Such a process would result in identifying the significance of unexpected character-defining aesthetic elements of Notre-Dame, such as its smell, in addition to its visual appearance. If conducted without a bias toward positive emotions, the process would raise awareness of the negative emotions that the interested public associates with the aesthetic experiences of Notre-Dame. Such awareness would in turn help keep questions of fairness at the center of the preservation process, attuning it to the demands for social justice and making politicians and preservation professionals accountable for how it might be achieved, not only through new experimental preservation aesthetics but also through new financial models, such as redistributing the enormous sums of private capital raised by the fire to other heritage sites and communities in more precarious states.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"42 1","pages":"75 - 78"},"PeriodicalIF":0.1,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77325945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0059
Abstract:Postcolonial philosopher Gayatri Chakravorty Spivak delivered the little-known “City, Country, Agency” as the keynote presen tation at the Theatres of Decolonization: [Architecture] Agency [Urbanism] Conference held at Chandigarh, India, in 1995. Republished after twenty-five years as a historical document in this issue of Future Anterior with contemporary commentary by the author, this keynote points to a past for decolonization as a paradigm within architecture and preservation that also has critical lessons for the present.
{"title":"City, Country, Agency","authors":"","doi":"10.5749/futuante.16.2.0059","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0059","url":null,"abstract":"Abstract:Postcolonial philosopher Gayatri Chakravorty Spivak delivered the little-known “City, Country, Agency” as the keynote presen tation at the Theatres of Decolonization: [Architecture] Agency [Urbanism] Conference held at Chandigarh, India, in 1995. Republished after twenty-five years as a historical document in this issue of Future Anterior with contemporary commentary by the author, this keynote points to a past for decolonization as a paradigm within architecture and preservation that also has critical lessons for the present.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"99 1","pages":"59 - 85"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75939623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0017
Amal Sachedina
Abstract:Since its inception as a nation-state in 1970, Oman’s expanding heritage industry—exemplified by the boom in museums, exhibitions, cultural festivals, and the restoration of more than one hundred forts, castles, and citadels—fashions a distinctly national geography and a territorial imaginary. Material forms of old mosques, restored forts, museumified living settlements, and national symbols such as the coffee pot or dagger saturate the landscape and become increasingly ubiquitous as part of a public memorialization of the past. Material forms, and their circulation through institutional techniques of education and mass publicity, assume a repetitive aesthetic pedagogy that cultivates everyday civic virtues, new modes of religiosity and forms of marking time, defining the ethical actions necessary to become an Omani modern through the framework of tradition. Heritage is approached here not merely for its ability to instill ideologies, thus downgrading its truth to a function of state power and manipulation, but for its potential to shape the perceptual habits, emotional affects, and ethical sensibilities of its audience.
{"title":"Heritage Imagery and Temporal Space in the Sultanate of Oman: Cultivating Modes of Ethical Living through State Media","authors":"Amal Sachedina","doi":"10.5749/futuante.16.2.0017","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0017","url":null,"abstract":"Abstract:Since its inception as a nation-state in 1970, Oman’s expanding heritage industry—exemplified by the boom in museums, exhibitions, cultural festivals, and the restoration of more than one hundred forts, castles, and citadels—fashions a distinctly national geography and a territorial imaginary. Material forms of old mosques, restored forts, museumified living settlements, and national symbols such as the coffee pot or dagger saturate the landscape and become increasingly ubiquitous as part of a public memorialization of the past. Material forms, and their circulation through institutional techniques of education and mass publicity, assume a repetitive aesthetic pedagogy that cultivates everyday civic virtues, new modes of religiosity and forms of marking time, defining the ethical actions necessary to become an Omani modern through the framework of tradition. Heritage is approached here not merely for its ability to instill ideologies, thus downgrading its truth to a function of state power and manipulation, but for its potential to shape the perceptual habits, emotional affects, and ethical sensibilities of its audience.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"10 1","pages":"16 - 29"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84553587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0031
Sudeshna Guha
Abstract:This essay builds upon the premise that heritage and decolonization share histories of obsessive emphases upon exclusive, unique and fiercely acquisitive identities. Considering that the scholarship of decolonization increasingly fixes attention upon the displays of the colonial in the realms of the former imperial powers, the aims here are to shift attention to the curation of the national within the post-colony. The essay explores histories of archaeological collections, collecting practices, museums, and exhibitions within India to illustrate the imbrication of the practices of heritage making and politics of decolonization. It highlights the pedagogic value of biographies of collections and exhibitions for analyzing the shared histories, and engages with the Authorized Heritage Discourse (AHD) of nation-making for interrogating the practices of naturalizing cultural heritage.
{"title":"Decolonizing South Asia through Heritage-and Nation-Building","authors":"Sudeshna Guha","doi":"10.5749/futuante.16.2.0031","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0031","url":null,"abstract":"Abstract:This essay builds upon the premise that heritage and decolonization share histories of obsessive emphases upon exclusive, unique and fiercely acquisitive identities. Considering that the scholarship of decolonization increasingly fixes attention upon the displays of the colonial in the realms of the former imperial powers, the aims here are to shift attention to the curation of the national within the post-colony. The essay explores histories of archaeological collections, collecting practices, museums, and exhibitions within India to illustrate the imbrication of the practices of heritage making and politics of decolonization. It highlights the pedagogic value of biographies of collections and exhibitions for analyzing the shared histories, and engages with the Authorized Heritage Discourse (AHD) of nation-making for interrogating the practices of naturalizing cultural heritage.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"26 1","pages":"30 - 45"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90340177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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