Architecture and trasparency: Hector Horeau's drawings for the Universal Exposition of the 19th century

Present work stems from the interest in the unusual career of the French architect Hector Horeau (1801-1872), poorly studied by historians of all time as a consequence of the almost complete absence of builted works, in spite of an intense project activity. Known for his daring and majestic architectures of iron and glass, and a new concept of the architectural form, misjudged by his contemporaries as not feasible, Horeau accumulates a long list of important calls for participation in significant competitions, with more than satisfactory results, without ever seeing built the presented plans. In fact, he is remembered as the winner of the international competition for the pavilion of the first Universal Exhibition in London (1951), however builted by Joseph Paxton with the name of Crystal Palace, and again on charges of plagiarism, led to Victor Baltard???s design of Les Halles in Paris. Poorly appreciated by his contemporaries, who often praised Horeau???s qualities as architect, however taking the distances from the frequent controversies and his excessive irritability, at his death many historians dedicated to Horeau flattering praises, describing him as a brilliant engine of innovative ideas: in his obituary tribute, Ernest Bosc even defines Horeau as ???the créateur des Halles centrales de Paris??? (Cerf, Zwirn 1991, 10), thus corroborating the controversy that Horeau supported for years against his rival Victor Baltard.