Добірка наукової літератури з теми "Le Corbusier"

In 2015 an essay by the architect Marc Perelman was printed in Le Monde claiming Le Corbusier was a fascist and that the French academy had whitewashed this from architectural history. The 2015 exhibition Le Corbusier: Mesures de l’homme, a major retrospective of the architect, held at the Centre Pompidou was adduced as evidence since it did not mention Le Corbusier’s politics, despite three French books on Le Corbusier’s fascism appearing in 2015, and the scandal that erupted around them. The letter was signed by myself, Zeev Sternhell, Xavier de Jarcy, Marc Perelman, and Daniel de Roulet; and reprinted in English by Verso in January 2017. The Fondation le Corbusier, who are unhappy with this turn of events, wrote to me asking me why I signed the letter. This essay will attempt to answer the question by evaluating the French quarrel, on both sides, and allegations about Le Corbusier’s fascism.

This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony. This article analyzes the reasons for which Le Corbusier insisted on the necessity to discover or invent “clear syntax” through architectural composition. He believed that the power of architectural artefacts lies in their “clear syntax”. Particular emphasis is placed on the relationship of Le Corbusier’s theories of space with those of Henri Bergson and the De Stijl movement. At the core of the reflections that are developed here are Le Corbusier’s “patient search” (“recherche patiente”) and the vital role of the act of drawing for the process of inscribing images in memory. For Le Corbusier, drawing embodied the acts of observing, discovering, inventing and creating. This article also relates Le Corbusier’s interest in proportions and his conception of the Modulor to post-war Italian neo-humanistic approaches in architecture. It intends to render explicit how Le Corbusier’s definition of architecture was reshaped, shedding light on the shift from defining architecture as clear syntax to defining architecture as the succession of events.

Abstract In 1911, a twenty-three-year-old Le Corbusier embarked on a six-month journey from Dresden to Istanbul, and back to his native Switzerland through Greece and Italy. Upon his return, the young architect unsuccessfully attempted to publish his travel notes as a book in 1912 and again in 1914. Only in 1965, forty days before his death, did Le Corbusier conduct the final revision of his 1914 typescript for publication. The next year, Le Voyage d’Orient was published posthumously. Previous scholarship on this book has overlooked the importance of Le Corbusier’s 1965 edits, consequently approaching the work as an authentic testament of the author’s youthful spirit. Based on a new and contextualized reading of the 1914 typescript hand-annotated by Le Corbusier in 1965, this article demonstrates how the late edits constitute a re-writing of a segment of Le Corbusier’s own history, especially in relation to his ideas of modernity, tradition, inspiration, and attachment to Mediterranean architecture.

Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.

While Le Corbusier's famous “journey to the east” has been the subject of numerous investigations as an important chapter in the great modernist's formative years, his days in Romania while en route to Constantinople are thinly covered. Le Corbusier and the Romanian Cula helps to fill that gap by focusing on one important detail: discovery of the identity and location of a much-discussed building he sketched while there and its importance for both traditional Romanian architecture and Le Corbusier's emerging vision of modernity. Judith Bing's discussion of her long search and unexpected discovery draws on firsthand knowledge of vernacular architecture in the Balkans, including Romania, and a long-standing interest in the early travels and subsequent modern architecture of Le Corbusier.

Le Corbusier died on 27 August 1965 at Roquebrune-CapMartin, near his Cabanon. Without direct heirs and driven by the fear that his carefully conserved archives and works be scattered after his death, Le Corbusier spent the last fifteen years of his life conceiving and implementing, down to its smallest details, the project of a Foundation that would bear his name. Today the activity of the Fondation Le Corbusier comprises two main undertakings: circulating his work and spreading his ideas; preserving the architect’s work and collections. Indeed as the legatee and direct offshoot of its creator Le Corbusier, the Foundation holds the moral rights to this work and therefore has a duty to constantly watch over his architectural work (and indeed the artist’s entire legacy). For the Foundation each of his buildings constitute a piece of art in and of itself. Each issue concerned in the restoration of Le Corbusier’s buildings is effectively governed by this specificity.

In 1946 Le Corbusier returned to the United States in conjunction with a French mission to study American architecture, public works, and planning. He traveled with Eugène Claudius-Petit, who would become minister of reconstruction in France. Their principal objective was to visit the Tennessee Valley Authority, considered a model for postwar reconstruction. In Le Corbusier and Postwar America: The TVA and Béton Brut, Mardges Bacon argues that the TVA’s regional planning and societal synthesis served as a model for Le Corbusier’s second-machine-age civilization. The TVA’s reinforced concrete dams employed industrial piping and a new formwork technique. Examining Le Corbusier’s postwar agenda through the prism of the TVA and a collaborative practice, Bacon contends that his work showed greater monumentality and plasticity, the integration of architecture and infrastructure, and an aesthetic treatment of béton brut, which situates his Unité d’Habitation in Marseilles (1945–52) within a transatlantic as well as a Mediterranean culture.

Autorzy przeprowadzili analizę licznych ograniczeń towarzyszących Le Corbusierowi w pracy zawodowej i ich wpływu na ostateczny kształt budynków mieszkalnych zrealizowanych w Paryżu. Wskazali na źródła tej architektury i omówili rozmaite uwarunkowania, które powodowały zmiany decyzji architekta. W tekście znajdą się spostrzeżenia autorów wynikające z wizyt w obiektach projektowanych przez Le Corbusiera, przybliżona zostanie relacja z inwestorami w trakcie projektowania domów mieszkalnych, ukazany będzie ich stan aktualny oraz przekształcenia, które nastąpiły na przestrzeni XX w. Tekst powstał w wyniku analizy materiałów źródłowych, kwerendy w Fondation Le Corbusier, badań przeprowadzonych in situ i rozmów z użytkownikami. Architectural work of Le Corbusier in Paris and freedom of decision. Housing architecture The authors analyzed the numerous limitations accompanying Le Corbusier in his professional work and their impact on the final shape of residential buildings constructed in Paris. At the same time, they point to the sources of this architecture and discuss various conditions that caused changes in the architect’s decisions. The text will include the authors’ observations resulting from visits to the facilities designed by Le Corbusier, the relationship with investors during the design of residential houses will be presented, their current condition and the transformations that have taken place over the twentieth century will be presented. The text was created as a result of the analysis of source materials, a query at Fondation Le Corbusier, research conducted in situ and interviews with users.

ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (1926-1930), con el propósito de contrastar la historia conocida sobre la visión del arquitecto con la realidad vivida por sus habitantes. Utilizando este caso de estudio, el objetivo es realizar una interpretación de lo oral como herramienta transversal para la historia, el análisis y el proyecto de la arquitectura, y con ello mostrar el valor instrumental de las entrevistas con los habitantes como nexo entre los hábitats y quienes los habitan.AbstractIn developing a more inclusive architectural history, using oral history as a methodology for accessing silenced experiences, sharing forgotten knowledge, and transcending the drawn or built construct can be enlightening. In 1972, the English version, Lived-in Architecture, Le Corbusier's Pessac Revisited, of architect Philippe Boudon's book, Le Corbusier's Pessac (1969), was published. His research was based on oral accounts of those who lived in Le Corbusier's housing project in the industrial neighborhood of Pessac on the outskirts of Bordeaux (1926- 1930), to contrast the known history of the architect's vision with the reality lived by its inhabitants. Using this case study, the aim is to interpret the oral source as a transversal tool for the history, analysis, and design of architecture, and thus to show the instrumental value of interviews with the inhabitants as a link between the habitats and those who inhabit them.

La tesis, con el título "Le Corbusier: la forma acústica", consiste en un trabajo de investigación sobre la obra de Le Corbusier. Este trabajo se centra en su producción como dibujante y pintor a partir de un cuidadoso y exhaustivo estudio del material depositado en la Fundación Le Corbusier de Paris sobre el que el autor de la tesis ha trabajado directamente durante un año. Este material es analizado y ordenado en base, tanto a las claves proporcionadas por el propio material, como a las claves proporcionadas por otros documentos, diarios, anotaciones o correspondencia, así como por su relación con la obra arquitectónica de Le Corbusier. A partir de aquí se presenta un nuevo marco de referencia, más complejo en cierto sentido, más coherente en otro, con abundantes datos y sugerencias de indudable relevancia, que constituyen una aportación fundamental al estudio de la obra de Le Corbusier, a los motivos inspiradores de muchas de sus obras, a su método de trabajo, y a la importancia que cabe asignar a su labor como dibujante, pintor y escultor en relación con su obra arquitectónica, tal como ha sido unánime valorado por todos los miembros del tribunal.

Le Corbusier est aujourd'hui synonyme, célèbre, d'architecture. De nombreuses voies d'investigation ont pris le personnage pour sujet. Celle du droit, au travers principalement des archives de la fondation Le Corbusier à Paris, montre un autre visage de l'effigie. L'homme est abordé sous l'angle d'un "professionnel", au sens des codes, dont l'activité est l'architecture et l'urbanisme. Son histoire est faite de rencontres avec des professionnels, d'autres hommes qui vont définir des limites d'actions, et envers lesquels Le Corbusier aura des devoirs, des obligations, mais aussi par rapport auxquels des droits s'établiront. Confrères, entrepreneurs, clients prives ou commande publique, communication et pratique à l'étranger alimenteront 95 projets, réalisations, moments de cette vie tous vus par les yeux du droit. En suivant le parcours de Le Corbusier, ce n'est pas "une histoire de Le Corbusier" qui est centre de l'étude mais l'évolution, du début du siècle à nos jours, d'une pratique architecturale qui se cherchent et tentera de se définir par la voie du droit. Voilà comment se positionnent les trois objets de l'étude.

This thesis presents an historical account of sport and stadia in the work of Swiss-French architect Le Corbusier. It examines the theoretical and political frameworks around sport and stadia, beginning with his major urban plans Ville Contemporaine (1922), Plan Voisin (1925), and Ville Radieuse (1930), followed by his stadium proposals Stade de 100,000 Places (1936) and Stade de Baghdad (1956-73). It reveals the significance of sport in Le Corbusier's urban theories, as well as presenting a largely untold history of sport and stadia in Le Corbusier's body of work.

Två av arkitekturhistoriens främsta teoretiker, Andrea Palladio (1508-80) och Le Corbusier (1887-1965), är goda representanter för arkitekturens två huvudgrenar; klassicismen och modernismen. Samtidigt som arkitekterna i mycket utgör varandras motpoler, verkade de båda för strikta ideal beträffande hur god arkitektur skall utföras. Deras respektive avtryck i historien bör inte passeras onämnda i den hastigaste av sammanfattningar; palladianismen användes som stilbegrepp fram tills på 1920-talet då Le Corbusiers läror tog avstamp för att alltjämt hemsöka oss i dagens härskandenyfunktionalism. Idén att ställa dessa giganter mot varandra, jämföra deras huvudsakliga ståndpunkter och söka sammanföra dessa i en ny form av kompositstil, väcktes efter en inventering av den plats som projektet är avsett att behandla. Närområdet kring platsen intill Fyrisån i Uppsala, erbjuder en rad arkitektoniska stilar från 1800-talets empir till modern nyfunkis. Allra närmast ligger ett postmoderntbostadshus och ett modernistiskt kontorskomplex i corbusiansk anda. I denna miljö skall ett nytt museum resas; ett museum som skall sammanföra gammalt och nytt, till innehåll liksom utsida.
Two of the foremost theorists in architectural history; Andrea Palladio (1508-80) and Le Corbusier (1887-1965), are both good representatives of architectures two main branches; classicism and modernism. The architects are direct opposites in many aspects. However, they are both advocates of strict rules of producing good architecture. Their imprints in architectural history are inevitable in the briefest of summarys. The concept of putting these architect giants face to face, comparing their main points of theory and trying to combine them in a neverseen composit style, was developed as a result of an inventory of the site. In the surroundings of the Fyris River in central Uppsala, there is a vast amount of architectural styles, reaching from early 19th century neo-classicism to modern day neo-modernmism. Closest to the site, there is a post-modern residential building complex and some modernistic office buildings in true corbusian spirit. In these invironments, a new museum will be risen, a house of the new and the old, inside and outside.

Após iniciar sua trajetória como pintor junto às vanguardas parisienses do cubismo e do purismo, Le Corbusier cessa em 1923, aos olhos do público, tal atividade, mantendo-a regular e sistemática como um trabalho exclusivo seu. Afora algumas poucas exposições menores e discretas, Le Corbusier permanece cerca de 30 anos pintando sem expor até que, em 1948, inicia o redescobrimento do que veio a chamar de seu \"labor secreto\". Esse processo de retomada da pintura como a \"virtude profunda\" de sua arquitetura e de seu urbanismo converge, em 1953, para uma grande exposição em Paris, quebrando definitivamente o seu silêncio de três décadas. Nesse percurso, analisou-se não apenas as fases de sua pintura, como seu significado enquanto formalização discursiva do trabalho conceitual de Le Corbusier, valorizando-se a relação entre pintura e urbanismo, em especial, a partir de suas viagens para a América do Sul.
After beginning his trajectory as a painter in the Parisian cubist and purist avant-garde movements, Le Corbusier halts his painting activity to the eyes of the public, keeping it regularly and systematically just for himself. Aside from a few small and discreet exhibitions, Le Corbusier spends 30 years painting without exhibiting until 1948, when he begins the rediscovery of what was to be called his \"secret labor\". This process of recovery of his painting as a \"profound virtue\" of his architecture and urbanism culminates in a huge exhibition in Paris, in 1953, breaking once and for all his 30-year silence. In this piece, not only the phases of Le Corbusier\'s painting were analyzed, but also its meaning as a discursive formalization of his conceptual work.

A leitura comparativa das arquiteturas de Oscar Niemeyer e Le Corbusier aponta para a existência de um diálogo. Os três encontros ocorridos entre os arquitetos em 1936 no Rio de Janeiro, em 1947 em Nova York e 1955 em Paris prestam-se como cenário para uma troca de experiências estéticas caracterizada por uma relação de influência e contra-influência. Nos projetos que sucedem seu primeiro encontro com Le Corbusier na cidade do Rio de Janeiro em 1936, Niemeyer estrutura sua própria linguagem no instante em que, expande à escala do edifício, os elementos de caráter compositivo que Le Corbusier preserva internos a um esquema plástico-gráfico de matriz pictórica. A crescente emancipação da forma de traçado curvilíneo com relação aos pressupostos puristas apregoados por Le Corbusier em seus projetos realizados durante a década de 1920, além de representar a autonomia formal da arquitetura de Oscar Niemeyer, sinaliza uma perspectiva plástica para a própria obra de Le Corbusier, justamente no momento em que o arquiteto franco-suíço, em 1947, na cidade de Nova York, é apresentado, pelas mãos do arquiteto brasileiro, às fotografias dos edifícios da Pampulha. No início de 1955, ano em que inicia uma severa auto-crítica com relação aos seus procedimentos projetuais, Niemeyer realiza sua primeira viagem à Europa e reencontra Le Corbusier, dessa vez, no atelier do mestre em Paris. Ao ser apresentado aos estudos de Le Corbusier para os palácios de Chandigarh, Niemeyer encontra o nexo entre síntese plástica e monumentalidade que será incorporado em seus projetos para os palácios de Brasília. Oscar Niemeyer arma seu universo estético a partir de um raciocínio dialético que oscila entre o respeito e a ruptura com relação aos postulados corbusianos. Ao extravasar a dimensão expressiva da plástica arquitetônica para além dos parâmetros reguladores dos modelos de Le Corbusier, Niemeyer revigora os sentidos da superfície, da forma e do espaço na arquitetura moderna, assimilando o projeto como um desenho da própria paisagem.
The comparison between Oscar Niemeyers and Le Corbusiers architectures points out to the existence of a dialog. The three meetings that took place in Rio de Janeiro in 1936, New York in 1947 and Paris in 1955, provides a scenario for an aesthetic interchange of experiences, characterized by a relation of influence and counter-influence. In the works that come after Niemeyers first meeting with Le Corbusier in the city of Rio de Janeiro in 1936, he structures his own language at the same time that he expands and reaches the building scale, the compounded elements Le Corbusier preserved inside a plastic/graphic scheme of pictorial source. The growing curved line trace freedom with regard to the purist presupposes divulged by Le Corbusier in his projects realized during the 1920s, besides representing the formal autonomy of Niemeyers architecture, points to a plastic perspective in Le Corbusiers own works, just in the moment when the French-Swiss architect in 1947, in New York city, is introduced, through the Brazilian architect, to Pampulha building photographs. Early of 1955, the year he initiates a strong self-criticism of his design procedures, Niemeyer travels to Europe for the first time and meets Le Corbusier again, at the masters atelier in Paris. Introduced to Le Corbusiers plan for Chandigarh Palaces, Niemeyer finds the connection between plastic syntheses and monumentality, which would be incorporated in his works for Brasilia Palaces. Oscar Niemeyer builds his aesthetic universe from a dialectical thought that oscillates between respect and rupture with regard to the Corbusian postulates. Extroverting the expressive dimension of architecture plastics to beyond the regulator parameters of Le Corbusiers models, Niemeyer revives the surface, form and space senses in modern architecture, incorporating the design project as a drawing from landscape itself.

Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2018-03-06T18:20:35Z No. of bitstreams: 2 Silvia Chiarelli..pdf: 37464417 bytes, checksum: f8f6e98302a4a74692f82cdc7f92e533 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Rejected by Paola Damato (repositorio@mackenzie.br), reason: Faltou o 4° orientador on 2018-03-08T11:26:15Z (GMT)
Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2018-03-08T18:34:37Z No. of bitstreams: 2 Silvia Chiarelli..pdf: 37464417 bytes, checksum: f8f6e98302a4a74692f82cdc7f92e533 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-04-03T13:09:52Z (GMT) No. of bitstreams: 2 Silvia Chiarelli..pdf: 37464417 bytes, checksum: f8f6e98302a4a74692f82cdc7f92e533 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2018-04-03T13:09:52Z (GMT). No. of bitstreams: 2 Silvia Chiarelli..pdf: 37464417 bytes, checksum: f8f6e98302a4a74692f82cdc7f92e533 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-17
Fundação de Amparo a Pesquisa do Estado de São Paulo
Cette recherche se concentresra sur la façon conceptuelle architecturale analyse de la conception de l´œuvre de l'architecte suisse-français Le Corbusier, en particulier leur projet pour l'Ambassade de France (1962-1965), à Brasilia (Brésil). Son analyse et l'interprétation approfondie seront faits sur le thème de la composition. Dans le cas d'un projet qui n'a pas été construit, une analyse détaillée et l'interprétation des matériaux choisis est resté limité les quelques spécifications de l'architecte dans le mémorial descriptif de leur avant-projet; et pour meilleur comprendre ce projet, éléments graphiques du projet ont été élaborées en deux et trois dimensions à partir de l'original trouvé dans la collection de la Fondation Le Corbusier à Paris (France). Pour effectuer cette étude référencé, la recherche traitera également plus largement les relations professionnelles établies par l'architecte suissefrançais avec le Brésil, avec une coupe qui va de l'invitation à réaliser un projet de l'Ambassade de France dans la nouvelle capitale brésilienne, en 1962, les raisons de ne pas construire le bâtiment après la mort de l'architecte en août 1965. La recherche considère également étroitement la relation entre la conception de Le Corbusier et l'ensemble de ses œuvres. Son analyse est devenue encore plus complexe car ils ont été construits des relations entre ce projet et : les autres ouvrages architecturaux de l'architecte, en concentrant sur la production de votre dernière période 1950-1965; son travail théorique et artistique; et son Voyage en Orient, tenu par le jeune architecte encore en 1911. L'étude partira établie sur la base des travaux antérieurs, en particulier les 8 volumes de Le Corbusier et Pierre Jeanneret: œuvre complète 1910-196516, rédigé et publié par Le Corbusier; le livre de Tras el Viaje de Oriente. Charles-Édouard Jeanneret - Le Corbusier17 de DAZA; Le Corbusier e o Brasil18, des auteurs SANTOS; PEREIRA; PEREIRA & SILVA; entre autres publiés par Le Corbsuier propres et d'autres auteurs qui ont étudié sa vie et de œuvre. L'étude comprendra également la recherche de sources primaires disponibles dans les archives de la Fondation Le Corbusier, à Paris, et le Centre des Archives Diplomatiques de La Courneuve, tous en France, dans les archives de l'Ambassade de France actuelle, construite par l'architecte chilien Guillermo Jullian de la Fuente, et le Ministère des Affaires Étrangères du Brésil, à la fois à Brasilia (Brésil), et d'autres collections nationales et internationales, ce qui permettra de fonder et de compléter les interprétations et les analyses des propositions.
This research will focus on the architectural analysis of the design work of the French-Swiss Architect Le Corbusier, specifically his project for the Embassy of France (1962-1965), in Brasilia (Brazil). Our analysis and interpretation will concentrate on the composition topic. Since this project was neither built nor detailed, analysis and interpretation of the chosen materials remained limited to the few specifications provided by the architect still in the preliminary drawings. To better understand it, two-dimensional and three-dimensional graphic elements of the project were developed from the original document found in the collection of the Foundation Le Corbusier in Paris (France). For a referenced case study, the research will also address the professional relationship of the French-Swiss architect with Brazil, highlighting the period from the moment he was invited to design the French Embassy in the new Brazilian capital in 1962, to the reasons that led to the non-construction of the building after the architect’s death in August 1965. The research also carefully considers the connections between Le Corbusier’s project for the Brazilian Embassy and the set of his works. Such analysis turned out to be even more complex as relations were being built: relations between that particular project and his other architectural works, focusing on the production of his last period, from 1950 to 1965; relations between the architect’s theoretical and artistic work, produced throughout his career, and the records of his Journey to the East, taken by the still young architect in 1911. The study will start from the base established in previous works, mainly the eight volumes of Le Corbusier et Pierre Jeanneret: œuvre complète 1910-196513, written and published by Le Corbusier; the book Tras el Viaje de Oriente. Charles-Édouard Jeanneret - Le Corbusier14, by Daza; Le Corbusier e o Brasil15, by Santos; Pereira; Pereira & Silva; among others authored by Le Corbusier himself, in addition to other authors who have researched his life and work. The study will also include the research of primary sources available in the archives of the Foundation Le Corbusier, in Paris, and the Center of Diplomatic Archives in La Courneuve, both in France; in the archives of the current Embassy of France, built by Chilean architect Guillermo De La Jullian Fuente, and the Brazilian Ministry of Foreign Affairs, both in Brasília (Brazil), as well as other national and international collections to support and supplement proposed interpretations and analyses.
A presente pesquisa terá como foco conceitual a análise projetual da obra do arquiteto franco-suíco Le Corbusier, mais especificamente o seu projeto para a Embaixada da França (1962-1965) em Brasília (Brasil). Sua análise e interpretação aprofundadas serão feitas sob o tema da composição. Tratando-se de um projeto que não foi construído nem detalhado, a análise e a interpretação dos materiais escolhidos permaneceram limitadas às poucas especificações do arquiteto no memorial descritivo de seu anteprojeto. Para melhor compreendê-lo, foram elaboradas peças gráficas bidimensionais e tridimensionais do projeto a partir dos originais consultados no acervo da Fundação Le Corbusier, em Paris (França). Para um estudo de caso referenciado, a pesquisa também tratará mais amplamente das relações profissionais estabelecidas pelo arquiteto franco-suíço com o Brasil, com um recorte que segue desde o convite para realizar o projeto para a Embaixada da França, na nova capital brasileira, em 1962, até os motivos que levaram à não construção do edifício após a morte do arquiteto, em agosto de 1965. A pesquisa também considera detidamente as relações existentes entre o projeto de Le Corbusier e o conjunto de suas obras. Sua análise tornou-se ainda mais complexa à medida que foram sendo construídas relações entre o projeto da embaixada e: as demais obras arquitetônicas do arquiteto, focando na produção do seu último período, de 1950 a 1965; alguns exemplares da obra teórica e artística do arquiteto, produzidas ao longo de sua carreira; e os registros da sua Viagem ao Oriente9, realizada pelo arquiteto ainda jovem, em 1911. O estudo partirá da base estabelecida em trabalhos anteriores, principalmente os oito volumes de Le Corbusier et Pierre Jeanneret: œuvre complète 1910-196510, escrita e publicada por Le Corbusier, o livro Tras el Viaje de Oriente. Charles-Édouard Jeanneret - Le Corbusier11, de autoria de DAZA, Le Corbusier e o Brasil12, dos autores SANTOS; PEREIRA; PEREIRA & SILVA, entre outros de autoria do próprio Le Corbsuier e de outros autores que pesquisaram sobre sua vida e obra. O estudo também incluirá a pesquisa de fontes primárias, disponíveis nos arquivos da Fundação Le Corbusier, em Paris, e no Centro de Arquivos Diplomáticos de La Courneuve, ambos na França, nos arquivos da atual Embaixada da França, construída pelo arquiteto chileno Guillermo Jullian de la Fuente, e do Ministério das Relações Exteriores do Brasil, ambos em Brasília, e outros acervos nacionais e internacionais para embasar e complementar as interpretações e análises propostas.

Le Corbusier tente de ramener l’architecture à l’utilité et de créer une esthétique de pureté en parfaite harmonie avec celle-ci. Or s’il est conduit à s’opposer à tout excès et à économiser l’espace, ses choix esthétiques semblent mal répondre à cet impératif. Un seul superflu demeure un tabou chez lui: l’ornement. Le refus de cet ajout constitue ainsi un angle pour la compréhension du caractère de ses œuvres. Une enquête sur les causes de ce rejet mène à la conclusion que l’architecture nouvelle doit avoir comme principes l’esprit puriste, l’esprit scientifique déterministe et l’esprit individualiste. Pourtant, en même temps qu’elle les incarne, elle les enfreint systématiquement jusqu’à un certain point en vue de l’obtention des effets artistiques. De cette transgression de l’interdit résultent la réintroduction du superflu, une esthétique mi-authentique mi-inauthentique, et la qualification de l’espace de création corbuséen par la « parergonalité sans parergon ». Comme l’utilité ramenée en soi implique l’économie du temps, l’examen porte aussi sur les expériences temporelles que permet l’architecture nouvelle. Il montre qu’avec la « parergonalité sans parergon », celle-ci fait éprouver la décroissance du temps, sa suspension, son enchevêtrement avec l’objet, l’éternel présent présentiste, la logique de l’accroissement sous la logique de la réduction, des vécus semblables aux troubles de l’insomnie, etc. En même temps, cette architecture se remet en question, ouvrant ainsi d’autres historicités à l’art de bâtir et à l’homme, dont l’économie de l’espace ne valorise que le comportement corporel
Le Corbusier intends to bring architecture back to the utility and to create an aesthetics of purity in perfect harmony with this latter one. Yet if he is led to oppose all excess and to economize the space, his aesthetic choises do not seem to well respond to this imperative. One single surplus remains a taboo to him: the ornament. The opposition to this addition becomes then an angle for understanding the characteristic of his works. A conclusion of the inquiry into causes of this rejection is that the new architecture must hold the purist spirit, the scientific determinist spirit and the individualist spirit as principles. However, while embodying them actually, at the same time it infringes them systematically to a certain degree in order to create artistic effects. The outcomes of this transgression of the inhibited are the reintroduction of the surplus, a half authentic, half inauthentic aesthetics, and the characterization of Le Corbusier’s space of creation by “parergonality without parergon”. Since the utility brought back to itself implying the economy of time, we proceed as well to examine the temporal experiences made possible by the new architecture, and demonstrate that by means of the “parergonality without parergon”, it brings forth experiences like diminution of the time, its suspension, its entanglement with the object, the presentist eternal present, the logic of the increase under the logic of the reduction, effects similar to insomnia disorders, etc. Meanwhile, this architecture calls itself in question, opening then different historicities to architecture and to human being of which the economy of space values only the corporal movement

Em 1951, o arquiteto Le Corbusier foi convidado por seu amigo, o industrialista André Jaoul para projetar duas casas uma para ele e sua esposa e outra para a família de seu filho, no subúrbio de Paris. Devido ao orçamento reduzido, Le Corbusier adotou o uso de paredes portantes de tijolos, coberturas em abóbadas catalãs e vigas de concreto aparente. Estas escolhas definiram a estética brutalista do projeto e fizeram com que as Maisons Jaoul se tornassem conhecidas mundialmente. As Maisons Jaoul de certa forma parecem destoantes ao trabalho do arquiteto que ficou muito conhecido por ser austero, frio e racionalista, principalmente por suas obras nos anos 20. No entanto, um panorama na história da arquitetura corbusiana faz com que se tenha um entendimento desta solução brutalista. É possível perceber a evolução da arquitetura moderna de Le Corbusier desde o início de sua carreira, passando por diferentes fases onde o arquiteto acaba por ter um aumento de seu repertório e consequentemente uma evolução em sua arquitetura, que vai de encontro as mudanças sociais e econômicas da sociedade. As Maisons Jaoul assumiram um papel importante na carreira do arquiteto e serviram de exemplo e inspiração para diversos projetos ao redor do mundo.
In 1951 the architect Le Corbusier was invited by his friend, the industrialist André Jaoul to design two houses, one for him and his wife and another for the family of his son, in the a Paris suburb. Due to the reduced budget, Le Corbusier adopted the use of brick walls and roofs in Catalan vaults and exposed concrete. These choices defined the brutalist aesthetics of the project and made the Maisons Jaoul worldwide known. The Maisons Jaoul seem however disoriented to the work of the architect who was well known for being austere, cold and rationalist, mainly for his works in the 1920s. However, a panorama in the history of Corbusian architecture cause an understanding of this brutalist solution. It is possible to perceive the evolution of modern architecture of Le Corbusier from the beginning of his career, passing through different phases where the architect ends up having an increase of its repertoire and consequently an evolution that goes into the social and economic changes of society. Maisons Jaoul took an important role in the architect's career and served as an example and inspiration for several projects all around the world.

Abstract: Le Corbusier’s work and thought are a predominant influence over the Modern Movement, and their worldwide spreading acquired a significant dimension during the Second Post-War period. Such predominance of the architectural models conveyed by Le Corbusier may have originated in the rationale enunciated in his written work, which clearly explains a set of doctrinaire parameters, or in his active determinant role in international organisations such as the CIAM, but particularly in his ability to become a global architect, which led to a large international publication of his work. This paper intends to analyse the significance of the Corbusian legacy in architectural production in Angola and Mozambique during the 1950s and 1960s. These two former Portuguese colonies, far away from the centre of power dominated by the dictatorship of the so-called Estado Novo, were tantamount to a land of freedom and were, for a significant range of young architects working and building there, a laboratory for testing new languages of the Modern Movement, particularly on the basis of the Corbusian vocabulary. Two of those young architects Vasco Vieira da Costa (1911- 1982) and Fernão Simões de Carvalho (1929-), who worked in Angola from the beginning of the 50s, were trainees in Le Corbusier’s Paris ateliers. In addition to the work developed by those two architects, the specificity of the architectural production in Angola and Mozambique, particularly private order work, is clearly referenced to the Corbusian lexicon, whether in a more orthodox or a more hybrid way. Keywords: Le Corbusier; Le Corbusier’s legacy; Architecture in Lusophone Africa; Colonial; Tropical. DOI: http://dx.doi.org/10.4995/LC2015.2015.978

Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814

Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752

Abstract: This study is to focus on the relationship between Le Corbusier and Turkish Architecture and the main question of the study is what Le Corbusier means for Turkish architecture. The method chosen in the research is to seek out answer this question over two main axes (architectural education and architectural practice). Besides a general overview in the section where Le Corbusier is examined within Turkey’s architectural education, it was consulted to student opinions and it was mentioned about the topics of master’s and doctorate theses conducted as directly related to Le Corbusier. Within Turkey’s architectural practice, the projects performed by being inspired of him in Turkey were included and these projects were examined in relation with Le Corbusier’s five main principles. The projects examined show that Le Corbusier has become an important guiding spirit in modern Turkish architecture and additionally, the architectural products arising as a conclusion of inspirations are qualified products verifying Turkey’s architectural medium. Besides, there is a sub-section titled as Le Corbusier’s experiences in Turkey in this section. In this section, by showing reference to Le Corbusier’s travels in Turkey and the things engrossed as a result of his travels (with drawings and writings), it is emphasized that the relationship between Le Corbusier and Turkish architecture can be interpreted as a two-way interaction. Keywords: Le Corbusier, Turkey, Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.594

Resumen: Realizamos un nuevo estudio de las combinaciones de colores seleccionados por Le Corbusier en los ‘claviers’ para la empresa de papeles pintados Salubra en 1931, mediante su análisis en el espacio de color Natural Color System NCS, que permite comprender las variables perceptivas de los colores (tono, negrura y cromaticidad) y sus criterios de armonía. En este artículo discutimos las gamas tonales seleccionadas y aquellas que están ausentes., e intentamos desentrañar el orden subyacente en las combinaciones de colores mediante el estudio de las similitudes y contrastes de sus tonalidades en NCS. De manera gráfica, se demuestran algunos principios de armonía como el recurso habitual de contrastar tonos fríos con cálidos, algo que difiere ligeramente del tradicional contraste de complementariedad. El trabajo completo ha sido publicado en Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Abstract: We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria. In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some principles in Le Corbusier’s color preferences, such as the usual resource of contrasting cool with warm colors, something slightly different to the traditional contrast of complementary colors. The complete work has been published in Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Palabras clave: color, armonía; Le Corbusier; Salubra; arquitectura; Natural Color System. Keywords: color; harmony; Le Corbusier; Salubra; architecture; Natural Color System. DOI: http://dx.doi.org/10.4995/LC2015.2015.570

Abstract: The inhabitable viaduct is one of the most intriguing design proposals of Le Corbusier. Scholarly attention has focused upon the curvilinear megastructures designed for Rio de Janeiro and Algiers and their connection to the Ville Radieuse, downplaying the introduction of the inhabitable viaduct in São Paulo, and its connection with earlier proposals for Montevideo and Buenos Aires, the Plan Voisin and Ville Contemporaine, when Le Corbusier himself suggested that all these designs make up a sequence. The inhabitable viaduct has been understood as a reaction to non-European landscape and the airplane view, standing for a new sense of the organic in Le Corbusier’s work. A closer inspection of these designs along with Le Corbusier’s pertinent texts and imagery suggests that his architecture from 1929 onwards changes in degree rather than nature. The genesis of the inhabitable viaduct is seen as part of a sequence of topological transformations, informed by specific but generalizable site conditions and a host of precedents, but also, and primarily, as an alternative in Le Corbusier's controversial quest for monumentalizing the modern metropolis. Resumen: El viaducto habitable es una de las propuestas más intrigantes de Le Corbusier. Los estudiosos han concentrado su atención en las mega-estructuras curvilíneas proyectadas para Río de Janeiro y Argelia y en sus conexiones con la Ville Radieuse, menospreciando la introducción del viaducto habitable en São Paulo, y su conexión con las propuestas anteriores para Montevideo y Buenos Aires, el Plan Voisin y Ville Contemporaine, cuando Le Corbusier mismo sugirió que todos eses proyectos forman una secuencia. El viaducto habitable ha sido entendido como una reacción al paisaje no-europeo y a la vista del avión, indicando un sentido nuevo de lo orgánico en la obra de Le Corbusier. Una inspección mas detenida de eses proyectos a la luz de textos e imágenes pertinentes del arquitecto sugiere que su arquitectura del 1929 en adelante sufre un cambio de énfasis y no de naturaleza. La génesis del viaducto habitable se ve aquí como parte de una secuencia de transformaciones topológica, que son informadas tanto por condiciones de situación a la vez específicas y susceptible de generalización cuanto por un conjunto de precedentes, pero también, y primariamente, como una alternativa en la búsqueda controvertida de Le Corbusier por monumentalizar la metrópolis moderna. Keywords: Inhabitable viaduct/ South America/ Algiers/ Monumentality/ Landscape/ Urbanism. Palabras clave: Viaducto habitable/ Suramerica/ Argelia/ Monumentalidad/ Paisaje/ Urbanismo. DOI: http://dx.doi.org/10.4995/LC2015.2015.949

Abstract: This article looks into Le Corbusier’s urban proposal for the City of São Paulo, as formulated during his journey to South America in 1929. It highlights the relationship between Architecture and Landscape exposed by Le Corbusier’s plan. This paper sets out to investigate the analysis that the innovative Swiss architect performed of the geography and morphology of São Paulo. It contrasts to the works and plans carried out by technicians and engineers at that time. In order to explain how Le Corbusier’s treatment of nature and landscape differs from them, we study the extent to which Le Corbusier’s plans show design approaches, which were unusual in terms of Western History and Memory. He also looks into the relationship between Le Corbusier’s work, on the one hand, and new technological elements and changes in the visual culture at that time, on the other hand, thus seeking to highlight certain obscure spots within Le Corbusier’s work. This study aims at bringing forward some speculations and methods present in the work of Le Corbusier on cities. It deals with contradictory aspects in Le Corbusier’s work in order to deepen our understanding of contemporary urban problems. Resumen: Este artículo investiga la hipótesis de proyecto de Le Corbusier para la ciudad de San Pablo, propuesta durante su viaje a América Latina en 1929, focalizando en las relaciones entre arquitectura y paisaje. La primera cuestión analizada en este trabajo es el innovador análisis de la geografía y la morfología de San Pablo propuesto por el arquitecto suizo, que contrasta con la manera con que los técnicos e ingenieros locales desarrollaban sus propuestas en ese momento. Para explicar dicha diferencia en la manera de lidiar con la naturaleza y el paisaje, el autor de este articulo estudia como el trabajo de Le Corbusier presenta abordajes de proyecto inusuales para la Historia y la Memoria, y su relación con los nuevos elementos tecnológicos y de la cultura visual de la época, procurando así resaltar ciertos puntos oscuros en el trabajo del arquitecto. Esta discusión intenta cuestionar ciertas especulaciones proyectuales y metodologías de trabajo presentes en el trabajo de Le Corbusier sobre ciudades, utilizando sus aspectos contradictorios como modo de profundizar nuestro entendimiento de los problemas urbanos contemporáneos. Keywords: Modern Architecture; Modern Urbanism; Landscape Architecture; Le Corbusier; São Paulo. Palabras clave: Arquitectura Moderna; Urbanismo Moderno; Arquitectura Del Paisaje; Le Corbusier; São Paulo. DOI: http://dx.doi.org/10.4995/LC2015.2015.937

Résumé: La notion d’« espace indicible » occupe sans conteste une position centrale dans la théorie architecturale de Le Corbusier après 1945. Loin d’être un simple mot-valise ou un signifiant vide de sens, le concept d’espace indicible vise à penser le sommet de l’expérience esthétique et spirituelle dont est passible l’architecture, cela tant pour rendre compte de l’émotion plastique ressentie face aux chefs-d’œuvre du passé que pour décrire la qualité de l’expérience que l’architecte cherche à produire par ses propres œuvres. Ainsi, dans l’œuvre de Le Corbusier, l’expression « l’espace indicible » désigne non seulement un concept, mais également un ensemble textuel dans lequel la notion est thématisée et au travers duquel elle se constitue progressivement. L’objectif de cet article est double : d’une part, proposer une description des déterminations principales du contenu donné par Le Corbusier à la notion d’« espace indicible » ; d’autre part, à partir de l’examen des archives, faire le point sur les textes dans lesquels ce concept se formule. Abstract: The concept of “ineffable space” unquestionably occupies a central place in Le Corbusier's architectural theory after 1945. Far from being a portmanteau or a signifier devoid of meaning, the concept of ineffable space is aimed at conceiving the height of aesthetic and spiritual experience rendered possible by architecture. This is as much to realise plastic emotion felt in front of masterpiece from the past as to describe the experiential quality that the architect seeks to produce in his/her own work. Thus, in Le Corbusier’s oeuvre, the expression “ineffable space” not only denotes a concept but also a textual whole in which the concept is thematised and through which it is progressively constituted. The aim of this article is two-fold. On the one hand, I propose a description of the principle determinants of the content that Le Corbusier assigns to the concept of “ineffable space”, and on the other hand, analysing the archives, I wish to take stock of the texts in which this concept is formulated. Mots-clés: Le Corbusier; espace indicible; théorie architecturale. Keywords: Le Corbusier; ineffable space; architectural theory. DOI: http://dx.doi.org/10.4995/LC2015.2015.470

Resumen: Entender la evolución de la idea de la promenade en la crítica corbuseriana. Cómo la idea ha ido pasando de la idea del movimiento al pintoresquismo, a lo cinematográfico y finalmente a la idea de montaje. Leyendo Le Corbusier entender que lo mas relevante de la promenade es la idea de lo inesperado para el espectador. Entender de dónde viene esta idea de lo inesperado a través de la formación de Le Corbusier y, sobretodo, a partir de su formación en la crítica del S.XIX. Especialmente importante para entender la idea de lo inesperado es el libro de Mornings in Florence de Ruskin, en especial su descripción de la capilla de los españoles. Esta capilla también será objeto de estudio por Le Corbusier y, en ella, reconoce la importancia de lo inesperado en arquitectura. Abstract: The first objective of this paper is to understand the evolution of the idea of promenade in Le Corbusier’s critic. The paper follows how the idea has changed from the movement to the picturesque, to the cinematographic and finally to the idea of montage. The second objective is to understand that the idea of the unexpected for the spectator is key for the promenade. Then we try to understand where does the idea of the unexpected come in Le Corbusier’s formation with special interest in his formation in the nineteenth century critics. And how important to understand the idea of the unexpected is Ruskin’s Mornings in Florence, specially his description of the Spanish Chapel. This chapel will be case study for Le Corbusier and in his study he recognises the importance of the unexpected in architecture. Palabras clave: Promenade, Espacio inesperado, Formación de Le Corbusier, Viajes de Le Corbusier, Capilla de los españoles. Keywords: Promenade, Unexpected space, Le Corbusier formation, Le Corbusier Travels, Spanish Chapel. DOI: http://dx.doi.org/10.4995/LC2015.2015.976

Abstract: In contrast to Le Corbusier's later written accounts and the opinions critics have formed from these texts, this article concentrates on the ideas and opinions Le Corbusier developed in-situ during his first visit to the Acropolis in 1911. Using a detailed method of graphic analysis, this research deconstructs a set of Le Corbusier’s original sketches of the Acropolis made in Carnet 3 during his Voyage d’Orient in 1911. Comparing them in chronological sequence reveals how the ideas of the architect evolved whilst he was immersed in the physical experience of the Acropolis. The article focuses on two themes prevalent in the sketches and also in his later work: The various relationships between architecture and ground; and the representation of dynamic spatial experience across time and space. It finds that Le Corbusier used in-situ sketching as an intentional and rigorous method to analyse the Acropolis, actively forming his opinions through experimentation and refinement rather than merely illustrating pre-established ideas. This analysis reveals how Le Corbusier made use of his prior knowledge of the Acropolis but also, how he used his sketches to gradually transform this into a personal and original interpretation of the site and its buildings. It also shows that a number of his most celebrated ideas are not present in these sketches and may have developed in retrospect under the influence of other authors. Resumen: Este artículo se centra en las ideas y opiniones de Le Corbusier desarrolladas in-situ durante su primera visita a la Acrópolis en 1911 y contrasta con escritos posteriores del propio Le Corbusier e historiadores de estos textos. Este artículo deconstruye una serie croquis originales dibujados por Le Corbusier en el Carnet 3 de su Viaje al Oriente a través de un análisis gráfico detallado. Comparando sus croquis originales en secuencia cronológica revela como las ideas del arquitecto evolucionaron mientras que estaba inmerso en la experiencia física de la Acrópolis. El artículo se enfoca en dos temas predominantes que son presentes tanto en los croquis como en su obra posterior: Las relaciones entre la arquitectura y el terreno; y la representación de la experiencia espacio-temporal del conjunto arquitectónico. El artículo argumenta que Le Corbusier utilizaba sus croquis in-situ como método intencional y riguroso para analizar la arquitectura formando sus opiniones por experimentación y refinamiento más que para ilustrar conceptos preestablecidos. Este análisis muestra como Le Corbusier aprovechaba sus conocimientos previos de la Acrópolis, además de transformarlos gradualmente por medio de sus croquis en una interpretación personal y original del lugar y de la arquitectura. También explica que varias de sus ideas más celebradas no están presentes en estos croquis y que las desarrolló retrospectivamente bajo la influencia de otros autores. Keywords: Le Corbusier; Sketch; Acropolis; Graphic analysis; Voyage to the Orient. Palabras clave: Le Corbusier; Croquis; Acropolis; Análisis gráfico; Viaje al Oriente. DOI: http://dx.doi.org/10.4995/LC2015.2015.911