Letteratura scientifica selezionata sul tema "Dol. France. Cathedral"

<p>RESUM: La persistent i tenaç determinació dels comtes d’Empúries de recuperar l’antiga diòcesi visigòtica va atraure a Castelló d’Empúries els arquitectes i artífexs en actiu més notables de la Catalunya de l’època. Els comtes, la universitat i les elits de Castelló no van estalviar esforços a l’hora de construir i ornamentar un gran edifici comparable a les catedrals romàniques que, com moltes altres esglésies importants del país, al voltant de l’any 1300 es trobaven en ple procés de renovació/actualització a causa de la influència del <em>gòtic</em>, el nou estil constructiu que havia aparegut a l’Illa de França cap a la meitat del s. XII. L’article repassa les activitats que van desenvolupar a Castelló els principals arquitectes i artífexs que van participar en el projecte de construcció de la catedral de Santa Maria.</p><p> </p><p>ABSTRACT: The stubborn and persistent determination of the counts of Empúries to retrieve its diocese lost from visigothic times entailed the presence in Castelló of the most notable architects and craftsmen active in Catalonia at the time. The counts, the university and the elites in Castelló did not spare any efforts when they decided to build and adorn a large building comparable to the Catalan romanesque cathedrals which were in a refurbishing process towards the year 1300—like many other important churches in the country—using the new building technology called <em>gothic</em> that appeared towards the middle of the 12th century in the Île-de-France. The activity in the town of the main architects and craftsmen who took part in the cathedral project of Santa Maria is gathered in this text.</p>

ResumenA principios de septiembre de 1931, mediante carta privada remitida por B. Breslow -en cal­idad de Representante Comercial de la URSS en Francia-, Le Corbusier (y Pierre) reciben la in­vitación a participar en el concurso del Palacio de los Soviets de Moscú. Un edificio que, además de encarnar la voluntad de las masas trabajadoras rusas debía convertirse, de manera análoga, allí donde ya se hallaba construida la catedral del Salvador, en el monumento artístico-arquitectónico de la maltrecha capital soviética. Así, sirviéndonos del proyecto como instrumento, el escrito tra­tará de poner en relación dos de los materiales más íntimos en la vida y obra de Le Corbusier: sus agendas de Moscú y la correspondencia del atelier. Todo ello, con el único fin de desvelar algunas de las claves más desconocidas del comportamiento del arquitecto; ya no al frente de este proyecto concreto, sino sobre todo aquello que lo rodeaba: ya fueran los clientes, sus ayudantes o Pierre.AbstractIn early september 1931, on a private letter dispatched by B. Breslow -acting as Comercial Representative of the URSS in France-, Le Corbusier (and Pierre) received the invitation to partici­pate in the contest of the Palace of the Soviets in Moscow. A building that would not only enbodies russian´s working class will, but also should become in the same way, there where the Salvador cathedral was built, in the artistic-architectural monument of the struggling soviet capital. So, us­ing the project as an instrument, the note will try to put in relation two of the most intimate materi­als in the life and work of Le Corbusier: his Moscow diaries and the atelier correspondence. All of this, with the sole purpose of revealing some of the most unknown keys to the architect behavior; not at the front of this specific project, but above all that surrounded it: whether the clients, their assistants or Pierre.

En 1917 se le encargó al arquitecto británico sir Edwin Lutyens que hiciera diseños para los cementerios de guerra en el continente. El resultado fue casi 1000 cementerios y monumentos diseñados por Lutyens y otros arquitectos en Bélgica, norte de Francia y varios lugares de Asia. Bajo el liderazgo del director del Museo Británico, los arquitectos optaron por un estilo común, con la libertad de hacer variaciones individuales para cada cementerio relacionado con su contexto. Como resultado de estas dos ideas opuestas, hay dos elementos principales en cada cementerio, la ‘Piedra de Guerra’ diseñada por Lutyens y la Cruz del Sacrificio de Blomfield. Para los soldados desaparecidos, se erigieron enormes monumentos con sus nom- bres en las paredes como único recuerdo. Los cementerios más pequeños fueron diseñados por jóvenes arquitectos que estuvieron en el ejército durante la guerra. Hay lápidas en lugar de cruces para cada tumba según las diferentes condiciones religiosas de los soldados. Para Lutyens, el concepto de cementerio se basaba en la idea de una catedral verde, una iglesia al aire libre, rodeada de árboles como columnas. Esta idea se inspiró en la conocida arquitecta paisajista Getrude Jekyll. Gracias al mantenimiento por parte de la Commonwealth War Graves Commission, los cementerios todavía están en perfecto estado y juegan un papel importante en el recuerdo de la Primera Guerra Mundial. Already in 1917, the British architect sir Edwin Lutyens was asked to make designs for warcemeteries on the continent. In the end this resulted in almost 1000 cemeteries and monuments designed by Lutyens and other architects in Belgium, Northern France and other locations in Asia. Under leadership of the director of the British Museum, the architects have chosen for a common style, with the freedom to make individual variations for each cemetery related to the site. As a result of two opposing ideas there are two main elements on each cemetery, the War Stone designed by Lutyens and the Cross of Sacrifice by Blomfield. For the soldiers which were not found huge monuments were erected with their names on walls as their only surviving memory. The smaller cemeteries were designed by young architects who were in the army during the war. There are headstones instead of crosses for each grave due to the different religious background of the soldiers. For Lutyens the concept of a cemetery was based on the idea of green cathedral, a church in the open air, surrounded by trees as columns. For this idea he took advice from the well-known landscape architect Getrude Jekyll. Because of the maintenance by de Commonwealth War Graves Commission Still the cemeteries are still in perfect state and play an important role in the remembrance of the First World War.

In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.

The role of geometry and arithmetic in ancient building is common knowledge, but it has seldom been proved by measured drawing. This chapter looks for the remote origins of design criteria and ancient canons, and their application in representative antique and medieval architecture. Architectural design had to reflect the universal cosmic Order and Harmony and the ancient and medieval architect-designer had to rely on the same intangible instruments, i.e. the geometry and the arithmetic’s, created by the Divine Geometer. The geometry of forms and the numbers of quantities and dimensions served as a mayor instrument for developing coherent modulation in the design and the structure of the building and his environment. They also served as a symbol and an allegorical sign to convey intangible messages from the commissioner. Metric analysis reveals this evident design practices and their probable semantic content. This is illustrated in the analysis of six cases: the Cheops pyramid at Memphis, the Pantheon at Rome, the Charlemagne’s Palace Chapel at Aachen, the Our Lady’s Cathedral at Chartres, the S. Francis Basilica at Assisi and the Castel del Monte at Andria. This historic examples should inspire modern creative design and modern sustainable construction.

Resumen: Sería el 2 de septiembre de 1931, mediante carta privada remitida por un tal B. Breslow en calidad de Representante Comercial de la URSS en Francia, cuando Le Corbusier recibe la invitación a participar en el concurso del que sería para muchos el edificio esencial del país, el Palacio de los Soviets de Moscú. Un edificio que en consecuencia, además de encarnar la voluntad de las masas trabajadoras rusas, debía convertirse de manera análoga, allí donde ya se hallaba construida la catedral de El Salvador, en el monumento artístico-arquitectónico de la todavía maltrecha capital soviética. Este y no otro es el punto en el que la presente «forma del tiempo» se inscribe: en el continuo devenir que el proyecto desarrolla dentro del número 35 de la rue de Sèvres de París, a fin de desempolvar parte de aquel rastro creativo velado por la historia, esto es, desandar la línea de los Soviets. Abstract: It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets. Palabras clave: Tiempo; composición; simbología; circulación; técnica; Palacio de los Soviets. Keywords: Time; composition; symbology; circulation; technique; Palace of the Soviets. DOI: http://dx.doi.org/10.4995/LC2015.2015.582

Resumen: El interés de Le Corbusier por los aprovechamientos hidroeléctricos es una constante a lo largo de su vida, sobre todo como inspiración y referencia para proyectar su arquitectura, dando forma a una lección del embalse que veremos enfocada de diferentes maneras y en distintos momentos, desde su descubrimiento durante el trabajo en Vienne (Francia) para la Société d’applications du bétón armé hasta el intento de materialización con la obra de Bhakra en la India, pasando por etapas sucesivas en las que se va exponiendo, publicando o compartiendo, mediante conferencias, textos teóricos o encuentros en viajes, como el realizado a los Estados Unidos en 1946, cuando visita el macroproyecto de la Tennessee Valley Authority y deja constancia en la primera edición americana de Quand les catedrales étaient blanches: voyage au pays des timides. A través de sus palabras, de sus dibujos y de sus proyectos vamos revelando las dos caras de la lección del embalse: la que se desprende de manera inmediata desde las realidades encontradas, que tendrá su impulso final paralelo a la construcción de Chandigarh con la implicación en la presa sobre el Sutlej; y la cara oculta, desvelada como aportaciones e influencias progresivas en su arquitectura. Ambas caras permanecerán como el testimonio de la fértil relación entre Le Corbusier y los aprovechamientos hidroeléctricos. Abstract: The interest of Le Corbusier on hydroelectric industry is a constant throughout his life, especially as inspiration and reference to project its architecture, shaping a lesson of the dam that we will see focused in different ways and at different times, from their discovery while working in Vienne (France) for the Société d’applications du bétón armé to the attempt to materialize the work of Bhakra in India, through successive stages in wich he will be in exposing, publishing or sharing through conferences, theoretical texts and encounters on trips, like the one made to the United States in 1946, when he visits the macro project of Tennessee Valley Authority and describes it in the first American edition of Quand les cathedrals étaient blanches: voyage au pays des timides. Through his words, his drawings and his projects we will reveal the two faces of the lesson of the dam: the one which follows immediately from the facts found, which will find the final attempt parallel to the construction of Chandigarh with the involvement at the dam on Sutlej; and the other side, unveiled as inputs and progressive influences in its architecture. Both sides remain as the testimony of the fertile relationship between Le Corbusier and hydroelectric industry. Palabras clave: Arquitectura; Siglo XX; Le Corbusier; agua; industria; embalse. Keywords: Architecture; 20th Century; Le Corbusier; water; industry; dam. DOI: http://dx.doi.org/10.4995/LC2015.2015.1007