Дисертації з теми "Le Corbusier"

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.

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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.

A produção de Le Corbusier a partir da década de 1930 sofre grande mudança se for comparada ao período das \"casas brancas\". Na historiografia não há consenso na análise do referido período, ou mesmo aqueles que tecem as análises extensivas ao racionalismo corbusiano para este período tem certa dificuldade. Partindo desta constatação, este trabalho oferece alternativas de interpretação através da vínculação da produção arquitetônica e urbanística com a produção artística de Le Corbusier.
Le Corbusier\'s production since the thirties passes through great transformation when compared with the period of the \"white houses\". There is no agreement between historians in their analysis of the period and even those who try to analyse it through the optics of the corbusian rationalism have difficulties. This work offers alternative interpretations linking Le Corbusier\'s architectural and urban production with his artistic production.

Le Poème de l’angle droit is a livre de peintre, carried out by Le Courbusier, between 1947 and 1953 and published in Paris in 1955, as part of the collection named Grands livres manuscrits et illustrés par les artistes produced by Táriade Éditeur. The purpose of this thesis is to demonstrate that this book is a manifesto of his architecture, by which he expresses, through a reciprocal dialogue between poetry and painting, the principles that establish the relationship between his pictorial work and his architecture. There are three principles that can be identifying in this reciprocal dialogue: the processes of “recherche patient”, the parallel creations in his different craftworks and the search for unity. The importance of studying this book is determined by the value given by Le Corbusier, when he states that in it, he condenses his prolific and extensive research in architecture, and he synthesizes such experience through a moderate use of images and texts that gathered together can produce consecutive interpretations around the complex relationship brought together in a brief principle: the right angle. Except for recent re-editions, the original art book still claims greater study. In-depth, it is possible to identify the complex network of drawings and paintings that, analogously to an architectural project, evidences the diverse paths and the traces that establish points of reference in the big picture of the constellation that Le Corbusier’s work embodies. In other words, the analysis of this book is the fundament of this thesis, not as a complex cryptographic exercise, but as to be read as an architectural project itself, with the consequent projecting decisions. It must be underlined that Le Corbusier’s work does not establishes disciplinary limits or ruptures in time. It is fundamental to remember that his architecture comes from the study of the past and present, to give way to future experience. Therefore, the research process of this thesis begins with the analysis of the object to be studied: The Poem. It is an inquiry process that goes from the particular to the universal, and in which the unit is decomposed into parts as a crime scene, to be analyzed scientifically, and to be recomposed afterwards. The structure this thesis is determined by three general questions: What, How and What for? (What?), corresponds to the object to be studied and the historical and theoretical context in which it was produced. It is a livre de peintre made and published during the postwar of World War Two. It is a period of time in which the discussions about art, architecture and city planning were determined by the concept of synthesis of the arts and the spirit of the reconstruction. (How?), corresponds to the process of “the making” and the creative decisions which establish the conceptual and the material construction of the work. It is the process in which the ideas are materialized in preparatory drawings, texts and models. Reconstructing the making process allows to verify how Le Corbusier’s work is founded on the idea of a patient research, in which his investigations are gathered, synthetized and re-elaborated every time he faces a new project. In this process, it can be evidenced that each one of the themes compiled in Le Poème de l’angle droit, are the result of previous investigations. (What for?), is the underlying reason for this research and the book. It is the search for its purpose and its application. Le Poème de l’angle droit is structured in a systemic ordered in which it reveals specific principles which are in turn, part of a greater truth: the search for unity and a structure of actions that allow an architectural emotion throughout the work: meaning, a poetic emotion.
Le Poème de l?angle droit es un livre de peintre, realizado por Le Corbusier entre 1947 y 1953, y publicado en París en 1955, como parte de la colección Grands livres manuscrits et illustrés par les artistes producida por Tériade Éditeur. Esta tesis busca demostrar que este libro es una obra-manifiesto de su arquitectura en la que, mediante el diálogo recíproco entre poeta y pintor, plasma los principios que establecen la relación entre su obra pictórica y arquitectónica. En este diálogo es posible reconocer tres principios: el proceso de investigación paciente, el trabajo paralelo entre oficios y la búsqueda de la unidad. La importancia de estudiar esta obra está determinada por el valor que Le Corbusier mismo le otorga, al señalar que en él condensa la prolífica y extensa exploración que desarrolla entorno a la arquitectura y, así mismo, sintetiza dicha experiencia mediante el uso mesurado de imágenes y textos capaces de producir sucesivas interpretaciones, en torno a la compleja relación reunida bajo un breve enunciado: el ángulo recto. Salvo recientes reediciones, la obra original aún reclama mayor estudio. En profundidad, es posible reconocer el complejo entramado de dibujos y pinturas, que ?de modo análogo a un proyecto arquitectónico- permiten evidenciar los diversos senderos que lo configuran y los trazos que establecen puntos de referencia en la inmensidad de la constelación que constituye la obra de Le Corbusier. En otras palabras, el estudio de este texto fundamenta esta tesis, no como un complicado ejercicio criptográfico, sino que es necesario leerlo como un proyecto mismo, con las consecuentes decisiones proyectuales. Es necesario subrayar que la obra de Le Corbusier no establece límites disciplinares, ni rupturas de orden temporal, no hay que olvidar que su arquitectura proviene del estudio del pasado y del presente, para abrir camino a la experiencia del futuro. Por lo anterior, el proceso de investigación inicia con el análisis del objeto de estudio en cuestión: el poema. Es un proceso que indaga desde lo particular hacia lo universal y en el cual, la unidad es descompuesta en partes como la escena de un crimen para ser analizada científicamente, para luego recomponerla. Tres preguntas generales determinan la estructura de la tesis: el qué, el cómo y el para qué. El qué corresponde al objeto de estudio y el contexto histórico y teórico que rodean su realización. Es un livre de peintre realizado y publicado durante la posguerra de la segunda Guerra Mundial. Es periodo en el que las discusiones sobre el arte, la arquitectura y la ciudad están determinadas por el concepto de síntesis de las artes y el espíritu de la reconstrucción. El cómo corresponde al proceso que constituye la realización y las decisiones proyectuales, las cuales determinan la construcción conceptual y material de la obra. Es el proceso en el que las ideas son materializadas en dibujos, textos preparatorios y maquetas. La reconstrucción del proceso de materialización permite verificar cómo la obra de Le Corbusier está fundamentada en la idea de una investigación paciente, en la que sus investigaciones son recogidas, sintetizadas y reelaboradas, en la medida en la que se enfrenta a la realización de un nuevo proyecto. En este proceso es posible demostrar que cada uno de los temas que componen Le Poème de l?angle droit son el resultado de investigaciones previas. El para qué, constituye la razón de ser de este libro e investigación. Es la búsqueda del propósito y de su aplicación. Le Poème de l?angle droit está estructurado y ordenado de forma sistemática, el cual revela principios puntuales que a la vez son parte de una verdad mayor: la búsqueda de la unidad y una estructura de acciones que permitan la generación de la emoción arquitectónica a través de la obra; es decir, una emoción poética

Le Corbusier est un architecte qui non seulement construit, mais qui n’a de cesse de dire comment on doit construire. Faisant le pari de la force et de la cohérence de la pensée corbuséenne, le présent travail vise à interroger l’œuvre théorique de l’architecte au prisme de l’une des ses «colorations» les plus propres, à savoir sa dimension foncièrement normative. À partir d’un tel essai de reconstruction de la pensée corbuséenne par le biais du concept de norme, il s’agira de poursuivre un triple objectif : premièrement, chercher à comprendre pourquoi Le Corbusier rejette les normes sur lesquelles reposait l’architecture académique de son temps et pour quelles raisons il entend lui substituer une architecture authentiquement moderne ; deuxièmement, montrer en quoi et selon quelles modalités théoriques et pratiques l’œuvre de Le Corbusier constitue une tentative de refondation ou de recommencement de la discipline architecturale sur des bases normatives renouvelées ; enfin, tenter de saisir les rapports entre le domaine de la norme et ce qui l’excède, à savoir le champ du «hors-norme» (la beauté, le génie, l’espace indicible)
Le Corbusier is an architect who not only builds, but also never stops to tell us how to build. The present work aims at questioning the architect’s theoretical work through one of its most singular dimension, i.e. its fundamentally normative aspect. By trying to reconstruct the corbusean thought by the use of the concept of norm, I pursue a triple purpose : firstly, trying to understand why Le Corbusier rejects the normative basis underpinning the historicist architecture of its time and why he wants to substitute an authentic modern architecture for it ; secondly, trying to demonstrate how Le Corbusier’s theoretical and practical work constitutes an attempt at rebuilding the architectural discipline on brand new normative standards (the ‘échelle humaine’) ; finally, I try to grasp the relations between what is part of the normative realm and what necessarily exceeds this sphere according to the architect (beauty, genius, ineffable space)

Parallèlement à ses activités de constructeur, Le Corbusier (1887-1965) a écrit et publié une cinquantaine de livres et plusieurs centaines d'articles dans des revues très diverses. Cette thèse postule qu'un tel corpus représente une authentique œuvre. Sa finalité dépasse ce dans quoi on l'a souvent confinée, la transmission idéologique d'une doctrine architecturale et urbanistique, pour atteindre à une dimension véritablement littéraire, terme que la thèse s'attache à cerner dans ce contexte. Un ouvrage test a été retenu pour mener des investigations plus poussées: Sur les 4 routes, paru chez Gallimard en 1941, avec pour éditeur Jean Paulhan. Cette conjoncture littéraire et historique semblait exemplaire pour étudier le processus de production d'un livre de l'architecte. En effet, le livre témoigne du savoir-faire de Le Corbusier, tant dans le domaine de la poétique que du social, avec son intégration dans le champ de la littérature. La thèse se situe à la frontière de plusieurs champs disciplinaires : histoires de la Seconde Guerre mondiale, de l'art, et des idées, mais aussi outils et méthodes relevant des études littéraires (stylistique, rhétorique, critiques génétique et de la réception) et de l'analyse du discours
Besides his building activities, Le Corbusier (1887-1965) wrote and published around fifty books and hundreds of articles in various journals. This thesis assumes that such a corpus forms an authentic work which finality overpasses the ideological transmission of an architectural and urbanistic doctrine, that this work has been for a long time limited to. It reaches a real literary dimension -a concept that the thesis is looking to reveal. Sur les 4 routes, published by Gallimard in 1941 and edited by Jean Paulhan, was chosen as a test book to lead deeper investigations. Its literary and historic conjoncture seemed exemplary to study the production process of an architect's book as it is the perfect testimony of Le Corbusier's know how in poetics on the one hand and social science on the other hand, with his successful integration in the champ of literature. The thesis is at the limit of several disciplinary fields like the history of Second World War, art, ideas history and also tools and methods used in literary studies (stylistic, rhetoric, genetic and reception criticism), as well as study of the speech

The aesthetic experience of Purism has allowed us to significantly read the primitives’ dimension of Le Corbusier. The architect was able to bring out, with Ozenfant, the key elements of the pure expression of form. This purist phase was followed by a clear departure from these requests and with the end of the ‘Esprit Nouveau’ publications Le Corbusier made contact with Zervosi. From 1926, with ‘Cahiers d’art’, Le Corbusier fits perfectly into the proper dimension of the avant-gardes, fascinated by the remote, pre-classic and more primitive ages. To understand Le Corbusier’s attention to Primitivism, it is useful to look closer into his interest in this aesthetic dimension. The first is a series of documents that prove his interest in Primitivism, consisting of numerous drawings that the young Charles Edouard elaborated during his study trips to Paris from 1902. From this moment on, Le Corbusier’s attention was latent and constant, so much so that even the African fetishes that he reproduced in 1908 were part of the ‘Poéme electronique’ that he developed in 1958. A further experience is what Le Corbusier saw when he travelled to the East. In addition to the usual modern grand tour, which he made in 1911 when he visited the Acropolis, he also made another tour in 1933 for the occasion of CIAM IV. Another significant fact was that which affected the places where Le Corbusier lived or stayed for relatively limited periods. His experience contrasted the urban and metropolitan realities of the French capital with places that are properly bucolic. His experience in the fishing village of Piquey, between 1926 and 1936, during which he was able to admire the places and the ways of man adapting to nature. The Vezélay experience also influenced the personal story of Le Corbusier, both for the implicit departure from the climate of the contemporary metropolis as well as for his contacts with other intellectuals close to its avant-garde and modernist features. Significant in this sense were the contacts with Zervos, with Badovici and Léger, with whom he had the opportunity to deepen the aspects of the theories of painting in architecture and to establish with them a nucleus of the Galerie Cahiers d’art, in the heart of France. Finally, there was the next experience that led Le Corbusier, together with Badovici and E. Gray, to the French Riviera, first with the project of the E-1017 at Roquebrune Cap Martin and later with his project for the Petit Cabanon. Because of the experiences in the South of France, he once again rediscovers the dimension of the Mediterranean, as an identifying and unifying element of a culture that has its roots in a preclassical, primitive age. This dimension is affected by the principles of primitivism and is related to the historical and cultural context of the era as expressions of a new Humanism, identifying the poetics of concrete as the discovery of a of a new architectural identity, which became in the field of architecture a brutalist tendency.

Entiendo el proyecto como una especie de film, en donde los planos finales (o la obra construida), son tan sólo uno de sus fotogramas. La conjunción de todas sus partes es el resultado de la génesis del proyecto. Ella les da su razón de ser y de estar, las dota de sentido. Un proyecto es una solución concreta y terminada a un problema (Michael Baxandall, 1989). Conocida dicha solución, se vuelve la mirada hacia atrás, se recolectan los datos disponibles y se reconstruye el problema que le dio origen, se infieren las condiciones que lo hicieron posible. Esta tesis se inscribe en el área de la crítica inferencial o genética.
Un análisis basado únicamente en la última etapa de un proyecto sólo es útil para establecer una serie de atributos de dicha etapa. En tal caso, se renuncia a toda especulación sobre las intenciones del autor que no se manifiesten en el o los dibujos analizados. Afirmaciones del tipo "El arquitecto buscaba tal o cual cosa, quería conseguir tal o cual efecto., etc" no podrían exteriorizarse si no hay pruebas que las avalen.
La hipótesis principal que rige esta tesis es que la etapa final de un proyecto, incluso el objeto construido, no es más que una fase dentro de un proceso, un fotograma dentro de todo el film. No es incorrecto analizar un objeto arquitectónico a través de sus últimos planos, pero esta tarea debe hacerse con el conocimiento de la parcialidad que tal estudio puede implicar. Debe hacerse con el conocimiento de que el sentido total de un proyecto se construye con cada uno de los pasos dados a lo largo del proceso, pudiendo sus momentos álgidos coincidir o no con la imagen estática de la obra terminada, ya sea en el papel (obra no construida) o en el espacio (obra construida). Una vez comprendida la relevancia del proceso de proyecto en la lectura global de una obra de arquitectura es necesario reconocer, además, que dicho proceso nunca es lineal sino zigzagueante, que su carácter es más bien el de un organismo vivo, que recorre un sendero de titubeos y firmezas.
En la primera y segunda parte de este trabajo, despliego a fondo, y de manera independiente, el proceso creativo de las villas Meyer y Hutheesing-Shodhan (la primera, sin construir; la segunda, construida). Aunque la postura que rige ambos análisis es la misma, el tipo y la cantidad de materiales de trabajo han obligado a aplicar diferentes estrategias de trabajo.
La tercera parte de la tesis, a modo de conclusión, busca justificar la intuición que me llevó a reunir estas dos villas: que la distancia temporal, geográfica y cultural que las separa no sería tal. Para ello se hace un zoom sobre el factor común en ambos procesos creativos: el jardín suspendido. A partir de la noción de tipo, se reúne una serie de proyectos que comparten dicho elemento formal-espacial funcional: las villas unifamiliares Princesse de Polignac (1926), Stein-de Monzie (1927), Ocampo (1928), Savoye (1929) y Chimanbhai (1951-55); el immeuble-villas (1922-25), y sus dos descendientes directos: el pabellón de L'Esprit Nouveau y las villas de banlieue
(1925); algunosde los apartamentos del immeuble Wanner (1928-29), otros del immeuble del Village coopératif (1934-38) y el immeuble-villas de la primera versión para la Unité d'Habitation à Marseille (1945). Antes que en el estudio genético de sus jardines suspendidos, presento unas referencias latentes en este espacio interior-exterior que, aunque no fueran una recreación concientemente hecha por parte de Le Corbusier, son útiles para desvelar algunos atributos - formales, espaciales y/o simbólicos que sí pudieron formar parte de sus intenciones proyectuales. Una de estas referencias, ya apuntada por varios autores, es el jardín de la celda cartujana. Otras son el jardín que acompaña a las casas balcánicas, el jardin clos médiéval, y el jardín cerrado persa o pairidaeza.
The project is to be understood as a kind of movie, where the final plans (the constructed work), are only one frame. The conjunction of all of the parts is the result of the project genesis, giving them reason to be, giving them sense. A project is a specific and complete solution to a problem (Michael Baxandall, 1989). Knowing the solution, you turn your eyes back, collect available facts and reconstruct the problem that originated it; the conditions that made it possible are inferred. This dissertation is inscribed in the inferential or genetic critique area.
An analysis of the project last phase is only useful to establish a series of attributes of that specific step. In such a case, any speculation about the author intentions that are not manifested in the analysed drawing(s), are renounced. It would be impossible to express outward affirmations such as "the architect's search was., the effect he was looking for was., etc" if there's no supporting documents.
The main hypothesis that rules this dissertation is that the project's final phase, as well as the constructed object, is only a step inside a process, one shot inside a film. The analysis of an architectural object through its final plans is correct but this duty must be done with the knowledge of the partiality that such a research may involve. It must be done with the knowledge that the overall sense of a project is constructed with each one of the steps realized during the process, the most intense moments may coincide or not with the static image of the finished work, whether it is on paper (not constructed work) or in space (constructed work). Once understood the relevance of the project process in the global reading of an architectural work, it is not only necessary to realize that such a process is never linear but zigzag, but also that its character is one of a living organism that follows a path of hesitations and firmness.
The creative process of the villas Meyer and Hutheesing-Shodhan (first one not constructed, second one constructed) is thoroughly displayed independently in the first and second part of this dissertation. Even though the attitude is the same in both analyses, the type and quality of work materials have forced the application of different working strategies.
As a conclusion, the third part of the dissertation, seeks to justify the intuition in putting these two villas together: the time, geographic and cultural distance that separates them not being a factor. For that purpose a focus has been used over a common factor of both creative processes: the hanging garden. Starting with the notion of type, a series of projects that share the formal/spatial/functional element have been putted together: the single family villas Polignac Princess (1920), Stein de Monzie (1927), Ocampo (1928), Savoye (1929) and Chimanbhai (1951-55); the immeuble-villas (1922 25) and its two direct descendants: the Esprit Nouveau Pavillion and the Banlieue Villas
(1925); some of the Wanner Building apartments (1928-29), others from Village Coopératif Building (1934-48) and the immeuble-villas of the first version for the Marseille Unité d'Habitation (1945). Rather than making a genetic study on its hanging gardens, I present some latent references in this interior/exterior space, even though they were not a conscious recreation made by Le Corbusier, they are useful to explain some attributes -formal, spatial and/or symbolic- that certainly could be part of his design intentions. One of these references, already pointed out by several authors, is the Carthusian cell garden. Others are the garden attached to the balcanic houses, the "jardin clos médiéval" and the closed Persian garden or pairidaeza.

Le Corbusier's method of creating Architecture in all regions of the world is endlessly rich in techniques. While it is impossible to exactly know his thoughts as he created his modern compositions that skillfully addressed contextual cues, I present a thesis of how Corbusier approached different sites and masterfully created residences that were places "where happiness is born". I will use Shape Grammars and formulate my own languages that will recreate Corbusier's two Monol houses: Maison Jaoul in Paris and Sarabhai Villa in Ahmedabad. Furthermore, I will expand on these houses by creating other iterations, and transforming the grammars to understand critical major and minor moves. In the end I hope to derive architectural lessons that come from formal exercises that can be used in future design processes. I explore this practical effort by creating designs for a site in Midtown, Atlanta. I compare the process of using Shape Grammars with that of the typical studio approach. In conclusion, I find that Shape Grammars allows one to produce iterations that connect to the lessons of the original houses in an intuitive manner.

Thèse doctorale en cotutelle entre l’Université de Seville (Espagne) et l’Université Paris-Est (École Doctorale): "Objets: projet et maquette dans l’œuvre de Le Corbusier". Directeurs: Amadeo Ramos Carranza (Universidad de Sevilla) et Caroline Maniaque-Benton (Université Paris-Est). Doctorant: Miguel A. de la Cova Morillo-Velarde.Le projet architectonique et sa représentation sont inséparables, de même que les instruments utilisés le sont de son propre processus de création.C’est là que réside l’intérêt de l’étude présente. Dans les maquettes réalisées sous la supervision de Le Corbusier, des aspects tels que les matériaux et les échelles utilisés, leur présentation, leur objectif, etc. atteignent une autre dimension, car elles sont le travail non seulement d’un architecte, mais d’un artiste plastique.Tel que le signale Jean Louis Cohen, la maquette possède une double condition, expriméeen français grâce aux termes "œuvre" et "ouvrage", difficiles à traduire dans d’autres langues: la maquette est bien plus que l’objet fruit d’une représentation à l’échelle d’un édifice, elle est aussi un travail intellectuel, une présence de cette architecture. ChezLe Corbusier, l’identification d’objets de différentes tailles (pierres, bouteilles, boites d’allumettes, coquillages, cellules, accidents géologiques…) avec son architecture, peinture et sculpture souligne cette métamorphose d’échelle qui caractérise ses processus créatifs. La maquette surgit comme un agent intermédiaire entre les valeurs poétiques de ces objets inspirateurs et l’architecture à venir.La formation artistique et artisanale de Le Corbusier et de ses collaborateurs fait en sorte que les maquettes soient réalisées au travers de systèmes et de techniques des Beaux-Arts ou des Arts et Métiers. Ceci supposera certains transferts de ces méthodes d’élaboration vers les architectures en gestation, étroitement liées aux dessins. La maquette favorise une première expérience tridimensionnelle, un fait d’une importance particulière étant donné la condition picturale de l’espace dans l’œuvre de Le Corbusier. Au-delà d’illustrer les temps d’exécution de l’édifice projeté, le montage ou démontage de ces anatomies, représentées par le biais de photographies ou de films, mettent en évidence les relations entreleur construction et la dématérialisation du corps à travers la cinétique, propre à l’art du 20ème siècle. Et, par conséquent, à l’architecture représentée.À travers l’étude comparée des maquettes et des planimétries, plusieurs relations entre les deux instruments ont été déduites, lesquelles prouvent largement le rôle actif du modèle architectonique dans la manière de projeter de Le Corbusier. Afin de contraster les différentes informations recueillies (planimétries, lettres, agendas, bibliographies, photographies, etc.) une base de donnée des plus de deux cents maquettes localisées a été créée. Une compilation des plus signalées dans l’étude présente se trouve en annexe du document de thèse doctorale.La thèse est organisée en une série de chapitres nommés selon des méthodes artistiques ou artisanales, mettant en évidence le caractère manuel de ces travaux, réunis en deux parties -"Plastique" y "Texturique"- en fonction de leur capacité à représenter l’intérieur de l’objet-architecture. Au caractère actuel, correctement révisée, de l’héritage de Le Corbusier, il faut ajouter la pertinence de reprendre les relations entre forme et manualité, présente dans les lectures de l’architecte-artiste, parmi lesquelles est ravivée la figure deHenri Focillon, dont "Vie des formes. Eloge de la main" suit la ligne de penseurs actuels comme Richard Sennett. Une main tendue à l’ère du numérique
The architectural project and its representation are indivisible, as are the tools used at the beginning of the creation process; hence the interest in their study. In the models made under the supervision of Le Corbusier, aspects such as materials, scales, presentation and objectives reach another dimension, since this worknot onlycomes from an architect but also from a plastic artist.As Jean Louis Cohenpointed out, models can be seen as having two forms, which in French are calledœuvre and ouvrage. In this sense,a model is more than the resulting object of a scaled representation of a building; it is also an intellectual work, like another state of that architecture. In Le Corbusier's case, the identification of objects of different sizes (stones, bottles, matchboxes, shells, cells, landforms, etc.) with his architecture, painting and sculpture maintains the scaling metamorphosis that characterises his creative process. Models appear as intermediaries between the poetic values of those inspiring objects and the future architecture.As Le Corbusier and his collaborators were trained in Arts and Crafts, models are created with methods and techniques used in Fine Arts and Arts and Crafts. As a result, those creation methods are transferred to the architectural works in process, as well as to the drawings. Models favour an initial three-dimensional experience, which is especially relevant taking into account the pictorial condition of space in Le Corbusier's work. Beyond illustrating execution times for the designed building, the assembly or disassembly of those anatomies—represented by photographs or films—show the relations of its construction with the dematerialisation of the object through filming, typical in the art of the 20th century and, therefore, with the represented architecture.Through the comparative study of models and drawings, several relations between both tools have been established which prove the active role of the architectural model in the projecting process of Le Corbusier. In order to compare the used data (planes, letters, agendas, bibliographies, photographs, etc.), a database was created containing the over two hundred identified models. A compilation of the most significant models can be found attached to the document of the doctoral thesis.This thesis is organised in chapters titled by different artistic or craft methods, as a testimony to the manual nature of these works. The chapters are organised in two parts —Plastique and Texturique—depending on the ability to represent the inside of the object-architecture. In addition tothe proper review of Le Corbusier's important legacy, it is relevant to reconsider the relationship between form and craft, which was dealt with in works read by this artist and architect. Among those works,Henri Focillon's "Vie des formes. Eloge de la main" outstands and links with current thinkers such as Richard Sennett. A hand reaching out to the digital time

The present study focuses on the cinematographic and television production of and on Le Corbusier, realized during his lifetime. Long ignored from photography and publishing as an instrument of communication for architecture and urban planning, this filmic work remains little known and recognized. The thesis is built in two parts: a catalogue volume of the filmic work, forming the corpus of the study, and a reflexive volume, which questions various aspects of creation and diffusion of this production.The first challenge of the thesis was to study the mass of archives relating to the various film projects in order to fill the gap of this aspect of Le Corbusier's production, to include it fully in his artistic production. The catalogue is the result of a transdisciplinary research, which required an investigation into three research domains: architecture, cinema and television, taking into account the specificities of each discipline. Each project or production of a documentary is described from its phase of intention to reception until its valorisation today, including technical data and contemporary references to films. This volume makes it possible to measure the importance of the quantity of cinematographic and televised documents that Le Corbusier undertook during his life or for which he was solicited. No other architect has been so frequently involved in documentary projects.The second research, reflexive, analyses the modalities of communication and representation of the architecture and urbanism of Le Corbusier through cinema and television. From crossing transdisciplinary theories - reception, diffusion, socio-economic, semiotic and rhetorical – with Le Corbusier's cinematographic and televised work, three hypotheses result: transmission, transposition and transcription.The study begins by questioning the mechanisms of transmission. By this is understood any mechanism of mediation of Le Corbusier through the documentaries - and by extension the television interviews. Crossing the results of the corpus with the theories of reception, diffusion and marketing, builds insights into the effectiveness or inefficiency of certain documentaries as tools for communication and even promotion.In a second stage, the knowledge about Le Corbusier's creation process, both in terms of the representation of architecture and in terms of the construction of discourse in cinematographic documentaries, is deepened. The principle of transposition begins with the observation that cinematographic documents maintain close links with their photographic contemporaries. The research uses semiotic theories to analyse how Le Corbusier composes with the imaginary and techniques of photography to design his film projects.The third principle, transcription, focuses on Le Corbusier's cinematographic argument. Here the analysis starts from the observation that Le Corbusier's writings on cinema and the thoughts he emanated, do not stick with the cinematographic reality and the necessities of a cinema of communication. His rhetoric in the cinema is analysed by taking the techniques described by the main theorists of rhetoric and compared to the examples from conferences and publications.This research allows to draw four conclusions. First of all, it turns out that film production is a very significant creative and functional production in Le Corbusier's work, which deserves to be valued. Then, reception by a large public, successful or not, seems intimately linked to the architect's efforts at the political level. Thirdly, Le Corbusier's way of promoting his work through film can be equated with marketing strategies. Finally, the analysis of the creative process of films has made it possible to understand the transversality of mediums, and to grasp even more the importance of a valorisation of this filmic work in the work of Le Corbusier.
Doctorat en Art de bâtir et urbanisme (Architecture)
info:eu-repo/semantics/nonPublished

La présente étude s’intéresse à la production cinématographique et télévisée de et sur Le Corbusier lors de son vivant. Longtemps ignorée comme instrument de communication de l’architecture et de l’urbanisme, l’œuvre filmique (comme complément de la photographie et de l’édition) reste peu connue et reconnue. La thèse se construit en deux parties : une partie de catalogage de l’œuvre filmique, formant le corpus de l’étude, et une partie réflexive, qui s’interroge sur divers aspects de création et de diffusion de cette production. Un premier défi de la thèse consiste à étudier la masse d’archives relatives aux différents projets de films afin de combler le vide propre à cet aspect de la production de Le Corbusier, pour l’inclure à part entière dans sa production artistique. Le catalogue est le résultat d’une recherche transdisciplinaire qui demande une investigation dans deux, voire trois domaines de recherche : l’architecture, le cinéma et la télévision, en tenant compte des spécificités de chaque discipline. Chaque projet ou réalisation de documentaire est décrit depuis sa phase d’intention à sa réception jusqu'à sa valorisation, incluant les données techniques et les références contemporaines aux films. Ce corpus permet de mesurer l’importance de la quantité de documents cinématographiques et télévisés que Le Corbusier a pu entreprendre durant sa vie ou pour lesquels il a été sollicité. Aucun autre architecte ne semble avoir été si fréquemment sollicité, ni s’être impliqué de manière si récurrente dans de tels projets. Un deuxième travail, réflexif, traverse les modalités de la communication et de la représentation de l’architecture et de l’urbanisme de Le Corbusier par le biais du cinéma et de la télévision. De l’investigation dans les théories transdisciplinaires - de réception, de diffusion, socio-économiques, sémiotiques et rhétoriques - et leur application sur l’œuvre cinématographique et télévisée de Le Corbusier, résultent trois hypothèses : transmission, transposition et transcription.L’étude questionne dans un premier temps les mécanismes de la transmission. Par celle-ci est entendu tout mécanisme de médiation de Le Corbusier par le biais des documentaires – et par extension les interviews télévisées. En croisant les résultats du corpus avec les théories de réception, de diffusion et de marketing, des intuitions se confirment quant à l’efficacité ou l’inefficacité de certains documentaires comme outils de communication, voire de promotion. Dans un deuxième temps sont approfondis les savoirs sur le processus de création de Le Corbusier, autant sur le plan de la représentation de l’architecture, que sur le plan de la construction du discours dans les documentaires cinématographiques. Le principe de la transposition part du constat que les documents cinématographiques entretiennent des liens de proximité avec leurs contemporains photographiques. La recherche utilise les théories sémiotiques pour analyser la manière avec laquelle Le Corbusier compose avec l’imaginaire et les techniques de la photographie pour concevoir ses projets de films. La transcription concerne essentiellement l’argumentation cinématographique de Le Corbusier. Ici, l’analyse part du constat que les écrits de Le Corbusier sur le cinéma, et la pensée qui en émane, ne collent pas avec la réalité cinématographique et les nécessités d’un cinéma de communication. Sa rhétorique au cinéma est analysée en reprenant les techniques décrites par les principaux théoriciens de la rhétorique et comparée aux exemples venant des conférences et publications
The present study focuses on the cinematographic and television production of and on Le Corbusier, realized during his lifetime. Long ignored – as opposed to photography and publishing – as an instrument of communication for architecture and urban planning, this filmic work remains little known and recognized. The thesis consists of two parts: a catalogue volume of the filmic work, forming the corpus of the study, and a reflective volume, which questions various aspects of creation and diffusion of this production.The first challenge of the thesis was to study the mass of archives relating to the various film projects in order to fill the gap of this aspect of Le Corbusier's production and to fully include it in his artistic production. The catalogue is the result of a transdisciplinary research, which required an investigation into three research domains: architecture, cinema and television, taking into account the specificities of each discipline. Each project or production of a documentary is described from the initial intention to its public reception until its valorisation today, including technical data and contemporary references to films. This volume makes it possible to measure the importance of the quantity of cinematographic and televised documents that Le Corbusier undertook during his life or for which he was solicited. No other architect has been so frequently involved in documentary projects.The second – reflective – part of the research analyses the modalities of communication and representation of Le Corbusier’s architecture and urbanism through cinema and television. By crossing transdisciplinary theories – reception, diffusion, socio-economic, semiotic and rhetorical – with Le Corbusier's cinematographic and televised work, three hypotheses result: transmission, transposition and transcription.The study begins by questioning the mechanisms of transmission. By this is understood any mechanism of mediation of Le Corbusier through the documentaries - and by extension the television interviews. Crossing the results of the corpus with the theories of reception, diffusion and marketing, builds insights into the effectiveness or inefficiency of certain documentaries as tools for communication and even promotion.In a second stage, the knowledge about Le Corbusier's creation process, both in terms of architectural representation and in terms of the construction of discourse in cinematographic documentaries, is deepened. The principle of transposition begins with the observation that cinematographic documents maintain close links with their photographic contemporaries. The research uses established semiotic theories to analyse how Le Corbusier composes with the imaginary and techniques of photography to design his film projects.The third principle, transcription, focuses on Le Corbusier's cinematographic argument. Here the analysis starts from the observation that Le Corbusier's writings on cinema and the thoughts he emanated do not stick with the cinematographic reality and the necessities of a cinema of communication. His rhetoric in the cinema is analysed by taking the techniques described by the main theorists of rhetoric and compared to the examples from conferences and publications

O modo como a Arquitetura Moderna Brasileira urbanizou os cinco pontos de Le Corbusier na cidade tradicional é o foco central desse trabalho. Desde a observação de um grande número de edifícios erguidos no eixo Rio-São Paulo, no período que se inicia com o projeto da Associação Brasileira de Imprensa (ABI) e se extende até o concurso de Brasília, é possível demonstrar a capacidade da forma moderna em construir a cidade muito além dos limites dos seus edifícios, relacionando-se com o seu entorno. Ao contrário das críticas ocorridas a partir dos anos 60, que atribuíam à Arquitetura Moderna uma incapacidade para ordenar os espaços urbanos - ligada a uma obsessão pelo objeto isolado presente na sua cidade teórica da Carta de Atenas. O trabalho inicia com um exame dos dois paradigmas urbanos envolvidos nessa tensão: de um lado a cidade tradicional e de outro a cidade funcional. A seguir, o edifício moderno é investigado pelas suas três formulações ligadas ao volume, relacionadas com a aplicação literal da teoria dos cinco pontos de Le Corbusier, através do bloco tripartido. Essa teoria é então detalhada na sua obra, verificando quando e como passa a fundamentar as suas investidas na edificação, nos fragmentos urbanos e nas suas teorias sobre a cidade. Como termo comparativo, a pesquisa analisa os edifícios construídos por arquitetos brasileiros. Enquanto síntese de um sistema estético da obra corbusiana, que intermedia uma primeira coesão estética na produção doméstica com a sua criação teórica mais importante no âmbito urbano, a Cidade Radiosa, os cinco pontos, na sua tropicalização, receberam uma incrível ampliação de soluções: os pilotis absolutamente abertos encontraram no quarteirão densificado uma porosidade muito mais sugerida do que muitas vezes real; o teto-jardim ganha a plasticidade dos jardins de Burle Marx; a planta livre, na sua dualidade implícita, é utilizada em vários graus de expressão, aumentando as possibilidades de flexibilidade real embutida no esquema Dom-ino; a janela corrida e a fachada livre se vinculam aos espaços públicos da rua, normalmente ligados à porção de menor subdivisão dos programas. Implantando-se em diversas posições no quarteirão tradicional ou em ruas de encosta de morro, o edifício moderno brasileiro: a urbanização dos cinco pontos de Le Corbusier (1936 - 57), ao invés de se constituir numa submissão às regras da cidade tradicional, é revelador da essência fundamental da obra moderna: um sistema de relações visuais que não possuem escala e que não se esgotam nos limites volumétricos dos seus artefatos, porque encontram nos elementos essenciais do lugar as condições específicas à sua concepção.

El objetivo primero de la tesis era hacer un análisis del proyecto del hospital de Venecia de Le Corbusier, siguiendo una metodología de trabajo que permitía hacer dicho análisis en dos vías que se complementaban: el análisis del proyecto o descripción física y el análisis de su arquitectura o desde un punto de vista cultural, con el fin de producir conocimiento concreto acerca de una de las últimas obras de Le Corbusier que, a pesar de haber sido fuente para numerosas publicaciones y exposiciones en los últimos años, carece todavía de una mirada que abarque todas las fases del proyecto.
Sin embargo, tal y como se evidencia en los cinco cuadernos que componen la tesis, la investigación no se limitó al estudio del proyecto del hospital de Venecia (Cuadernos I y V), sino que también incluye el estudio de los cinco primeros museos en espiral cuadrada que propone Le Corbusier entre 1928 y 1953 (Cuadernos II y III). El vínculo entre los museos y el hospital es la tesis: la reconstrucción del proceso por el cual Le Corbusier da forma, a través de un estudio que le lleva más de 25 años, a un edificio tipo, originalmente pensado para albergar un museo, pero que en los años sesenta utiliza para otros usos.
Por esto, la tesis no es una monografía del hospital de Venecia. Es un trabajo analítico en dos vías paralelas:
- el primer recorrido fue hecho a través de los documentos que componen las cuatro versiones del hospital que se hacen entre agosto de 1962 y febrero de 1966, incluyendo los bocetos, fotos, carnets, correspondencia, documentos escritos y demás documentación gráfica, así como la documentación correspondiente de los cinco museos estudiados.
- el segundo recorrido se hizo paralelo al primero: es el recorrido que permite hacer el hospital y los museos a través de la Arquitectura -tanto de Le Corbusier: como aquella que él vio, conoció y recordó al estar proyectándolos. Con los dos recorridos intento rehacer los proyectos, a través de un análisis que busca indagar sobre aquello que Le Corbusier propuso, conoció y recordó al proyectar estas obras.
La tesis es la reconstrucción de la Unité de bâtisse del hospital a través de un prototipo que se ordena en planta a partir de una esvástica. Una elección objetiva y personal. Objetiva, porque se deduce del propio proyecto, y porque lo dice el propio Le Corbusier.
Es también un recorrido individual, donde busqué entrar en el mundo de la memoria, donde el hospital, a manera de la "mónada" de Benjamín, permitió encontrar en él toda la obra del autor, la arquitectura de todos los tiempos y, de vuelta, entender cómo esta obra es también única e irrepetible. Porque entender, conocer un proyecto sería proyectarlo, lo cual es diferente a hacer "un recuento de lo que sucedió en la mente del pintor [arquitecto], sino una reflexión analítica sobre sus fines y medios", partiendo de la diferencia que hay entre el "participante" - Le Corbusier - y el "observador" - quien estudia a Le Corbusier.
Al igual que el Menard de Borges, la intención primera e imposible fue "reescribir" todo el Hospital.
Desde una posición que dice que la tarea de quien quiere conocer la arquitectura es asumir el papel de otro creador de la obra, el ejercicio que se hizo en esta tesis, pretendió, al igual que Menard, lograr "reescribir" unos pocos capítulos.
Este ejercicio permitió "viajar" a través de la arquitectura de todos los tiempos. Recorrer este tapiz dibujado ha sido un ejercicio de aprendizaje y proyección arquitectónica.
El mundo de conocimiento que se me ha abierto a través del H VEN LC es inconmensurable y rico: a través del recorrido por los planos, bocetos, textos y demás información que encontré al recorrer el laberinto de pilares-pantalla, patios y luz engalanada de luces y sombras del hospital, he podido, en el sentido más amplio que se le pueda dar al término, aprender Arquitectura.
The main objective of the thesis was to make an analysis of the Le Corbusier's Venice project, following a methodology that could make the analysis in two complementary ways: the project's analysis or physical description; and the architecture's analysis or from the cultural point of view. Both with the aim to produce specific knowledge of one of the Le Corbusier's last works that, despite the fact that lately there are various publications and expositions about this specific project, there is still no work with a view that includes all the project phases.
However, as the 5 Notebooks that form the thesis evidence, the research was not only limited to study the Venice hospital project (Notebooks I and IV), and also includes the study of the first five museums in square spiral proposed by Le Corbusier between 1928 and 1953 (Notebooks II and III).
The link between the museums and the hospital is the thesis: the process re-construction of the work made by Le Corbusier in wish he gives shape to a building type, through 25 years of work, originally thought to be a museum, but that is used during the sixties for other uses (Annexes and biography in Notebook V)
That's why the thesis is not a Venice hospital project's monograph. Is an analytical work made in two parallel ways: one, through the documents that compose the 4 Venice hospital versions dated between August 1962 and February 1966, including sketches, photos, notebooks, correspondence, written documents and any other graphic material, and also the same documents for the 5 analysed museums.
The second way was parallel to the first: is the research that both the hospital and the museums let to do through de Architecture -not only of Le Corbusier himself, but specially of that architecture that Le Corbusier saw, knew and remembered while projecting this buildings. With the two ways of analysis, what I try to do is to rebuild the projects, inquiring those things that Le Corbusier proposed and remembered while projecting the Unité de bâtisse.
The thesis is the Unité de bâtisse rebuilt process through the prototype that is ordered in plan from a swastika. An election that is both objective and personal.
Objective, because is a deduction that is possible to make from the project and also, because Le Corbusier himself explains it somehow.
And a personal choice because my intention was to go inside the memory world where the hospital, as a Benjamin's "monad", led find in it the whole work of Le Corbusier, the architecture of all times, and, back, it led to understand that it's also unique, a work that is not possible to repeat.
Because to deal, to know a project would be to project it again. This doesn't means that I was going to "make a inventory of what happened in the artist [architect] mind, but an analytical reflection over his goals and means", departing from the difference between the "participant" -Le Corbusier- and the "observer" -who studies Le Corbusier.
As what Borges' Menard tries to do, my first and impossible intention was to "rewrite" the whole hospital. From a position that assures that the work that one has to do if you want to learn architecture is to assume the part of other work's creator. I was able, as Menard, to re-write only few chapters. This exercise let my "travel" through the all times architecture. To walk around this drawn tapestry has been an exercise of learning and projecting architecture.
The world of knowledge that has been open through the plans of the Venice hospital project is incommensurable and rich: I have learn Architecture in the more wide sense of the term through the plans, sketches, texts and all the information found while running over the hospital's labyrinth of screen-pillars, courts and light adorned with colours and shadows.

[…] En este trabajo se tratará de determinar en qué condiciones la correcta o más afinada puesta en obra de esos sistemas [las “unités”] puede ser transcendida o en qué circunstancias se puede ir más allá de la simple confluencia en un estado simbiótico de intenciones y posibilidades… El punto de vista que yo propongo es el de un arquitecto ocupado en el proyecto. El análisis de la documentación gráfica disponible, su constatación en las Unités construidas; el replanteamiento, a través del dibujo, de los problemas formales y constructivos de sus diferentes necesidades y pasos intermedios, son los instrumentos necesarios para desvelar dudas, reiteraciones, hallazgos… del proyectista en su afán de conseguir el equilibrio de las tensiones que inciden en el proyecto. […]

A dissertação investiga a hipótese urbana de Le Corbusier para a cidade de São Paulo, realizada durante sua viagem à América Latina em 1929 - enfocando no diálogo entre arquitetura e paisagem suscitada pela proposta. O trabalho inscreve o contexto da viagem de Le Corbusier, remontando os principais conflitos políticos e estéticos em que o arquiteto franco-suíço estava envolvido na Europa, durante os anos que precedem imediatamente sua vinda ao continente sul-americano. Na leitura formal do plano, destaca-se a perspicaz leitura que Le Corbusier realizou da geomorfologia e geografia do sítio de São Paulo - contrastante tanto com as práticas urbanísticas em exercício na Europa quanto os estudos desenvolvidos por técnicos e engenheiros na cidade de São Paulo no mesmo período. O imaginário do projeto será reconstruído em conjugação com a caracterização das premissas materiais de sua formulação através de três fontes: a pesquisa histórica dos projetos urbanísticos de larga escala existentes para São Paulo até o episódio da visita - a fim de caracterizar os problemas sociais e urbanos que a cidade atravessava, comparando-os com os objetivos da hipótese de Le Corbusier; a análise das referências de monumentos da antiguidade levantadas pelo arquiteto na descrição do projeto - remetendo ao constante conflito na sua obra entre signos do passado e a modernidade; e por fim, a análise da função técnica e poética da visão aérea no processo de elaboração do plano de Le Corbusier, associando o projeto a uma complexa cultura visual que estava se inaugurando naquele período.
The dissertation investigates the Le Corbusier\'s plan for São Paulo developed during his Latin America\'s trip in 1929 - focusing on the dialogue between architecture and landscape raised by the proposal. Le Corbusier\'s voyage to South America is inscribed the major political and aesthetic conflicts that the architect was involved in Europe during the years that immediately preceding this trip. In the formal reading of the plan, Le Corbusier\'s insightful reading of São Paulo\'s geomorphology and geography is noteworthy - contrasting with both urban practices at that moment in Europe and the studies developed by technicians and engineers in São Paulo. We attempt to reconstruct the project\'s imagery in conjunction with the material conditions of its formulation, and through three research sources. The first is the historical survey of the existing projects for the city of São Paulo. It reveals the urban and social problems that the city was undergoing. Moreover, the facts showed in the survey serve as a means of comparison with the aims of Le Corbusier\'s hypothesis. Second, the analysis of historical references that Le Corbusier lists on the project\'s description - such as the aqueduct of Segovia and the Pont du Gard - is relevant to understand why and how these infrastructural elements are present in the plan. Finally, the analysis of the technical and poetic function of the aerial view in the elaboration process of Le Corbusier\'s plan inscribes this project in a complex visual culture that was being established at that moment.

This dissertation inscribes the temporal terrain of Postcolonialism as being characterized by global citizenship and diasporic narrative. I argue that the shifting identities produced by such mobility are better conceptual tools towards understanding architecture culture production in the postcolonial city, rather than relatively static concepts of Modernism, Nationalism or even Postcolonialism. By looking at ways in which hybridity is to be found in even the most 'stable' of textual, oral or architectural gestures, the dissertation re-locates the arguments that give Modernism and the city of Chandigarh's narratives a certain coherence towards a terrain that is constantly shifting from one pole of global modernism to another. The normative model of Chandigarh's architecture that is built up thusly gently provokes questions of final ownership and original intent, locating them instead within a temporality that is distinguished by continuous evolution, rather than stable meaning
Cette thèse inscrit le terrain temporel du Postcolonialisme comme étant caractérisé par le citoyenneté global et un narratif diasporique. Je souligne que les identités instables qui sont produites par une telle mobilité sont des outils conceptuellement habiles pour construire une conception de la culture architecturale dans la ville postcoloniale, plutôt que des concepts relativement statiques de Moderne et de Postcolonial. En examinant les moyens par lequel l'hybridité se trouve même dans des gestes les plus stables textuels, oraux ou architecturaux, cette thèse re-localise les arguments qui donnent les narratifs du Moderne et la ville de Chandigarh une certaine cohérence vers un terrain qui est constamment fluide entre une axe du modernisme global vers l'autre. Ce modèle normatif de l'architecture de Chandigarh provoque ainsi doucement des questions de propriété et de l'intention primordiale, les relocalisant plutôt dans une temporalité qui se distingue par l'évolution continue et non pas de sens stable

[EN] Rogelio Salmona and Le Corbusier: about the permeability of the making Abstract Rogelio Salmona was one of the most important architects of the 20th century in Colombia. His work, altogether with the work of some co-generation colleagues, laid the foundation for architecture made there since 1960 which operated a smart cultural synthesis between the principles of the modern movement coming from Europe and the United States and the technical and material potential of the Colombian environment. Rogelio Salmona formed for six years in the studio of Le Corbusier in Paris between 1948 and 1954. After this experience, the architect always claimed to be a disciple, but not a follower of Le Corbusier, even asserting that the most important influence he had received during the years spent in the French capital was from Pierre Francastel, a sociology professor at the École de Hautes Études. This thesis tries to delineate how the influence of Le Corbusier may have operated in the work of the Colombian architect. To do this, first, it is studied in depth the projects in the studio of Le Corbusier in the period between 1948 and 1954 and how they were developed. Secondly we approximate to the state of architecture in Colombia done during the same period, with particular emphasis on the work done by the co-generation colleagues of Rogelio Salmona. Finally the first works by the architect on his return to Colombia and his writings are studied and discussed. After this Itinerary, it is possible to identify several points in common, regarding the approach to the craft of the two architects, described and illustrated by some of their works. In both cases, the approach to the project through the development and editing of a series of pre-set variables leads to a systematic way of doing infinitely rich in possibilities. This research uses this case study to inquire in a broader sense into the mechanisms operating in the transmission of knowledge, on the field of architectural projects.
[ES] Rogelio Salmona y Le Corbusier: sobre la permeabilidad del hacer Resumen Rogelio Salmona fue uno de los arquitectos más importantes del siglo XX en Colombia. Su obra, junto con la de algunos compañeros de generación, sentó las bases para la arquitectura allí realizada a partir de 1960 que operó una inteligente síntesis cultural entre los postulados del movimiento moderno provenientes de Europa y Estados Unidos y las posibilidades tanto técnicas como materiales del entorno colombiano. Rogelio Salmona se formó durante seis años en el taller de Le Corbusier en París, entre 1948 y 1954. Tras esta experiencia el arquitecto declaró siempre ser discípulo, más no seguidor de Le Corbusier, llegando a afirmar que la influencia más importante que había recibido durante los años de permanencia en la capital francesa fue la de Pierre Francastel, profesor de Sociología de Arte en la École de Hautes Études. En esta tesis se pretende deslindar de qué manera puede haberse operado la influencia de Le Corbusier en el trabajo del arquitecto colombiano. Para ello, en primer lugar, se estudia en profundidad los proyectos y la manera de abordarlos en el taller de Le Corbusier en el período comprendido entre 1948 y 1954. En segundo lugar se realiza una aproximación al estado de la arquitectura en Colombia durante los mismos años, haciendo especial hincapié en el trabajo desarrollado por los compañeros de generación de Rogelio Salmona. Por último se analizan las primeras obras realizadas por el arquitecto a su regreso a Colombia y se estudian sus escritos. Tras este recorrido resulta posible identificar varios puntos en común, que atañen a la aproximación al oficio de los dos arquitectos, que se describen y se ilustran mediante algunos de sus trabajos. En ambos casos, la aproximación al proyecto mediante la elaboración y reelaboración de una serie de variables establecidas da pie a una manera de hacer sistemática e infinitamente rica en posibilidades. Esta investigación se sirve de este caso concreto para indagar en un sentido más amplio sobre los mecanismos que operan en la transmisión del conocimiento, referidos al ámbito de los proyectos de arquitectura.
[CAT] Rogelio Salmona i Le Corbusier: sobre la permeabilitat del fer Resum Rogelio Salmona va ser un dels arquitectes més importants del segle XX en Colombia. La seua obra, juntament amb la d'alguns companys de generació, va establir les bases per a l'arquitectura allà realitzada a partir de 1960 que va operar una intel·ligent síntesi cultural entre els postulats del moviment modern provinents d'Europa i Estats Units i les possibilitats tant tècniques com materials de l'entorn colombià. Rogelio Salmona es va formar durant sis anys al taller de Le Corbusier a París, entre 1948 i 1954. Després d'aquesta experiència l'arquitecte va declarar sempre ser deixeble, més no seguidor de Le Corbusier, arribant a afirmar que la influència més important que havia rebut durant els anys de permanència a la capital francesa va ser la de Pierre Francastel, professor de Sociologia de l'Art a l'École d'Hautes Études. En aquesta tesi es pretén delimitar de quina manera pot haver-se operat la influència de Le Corbusier en el treball de l'arquitecte colombià. Per a això, en primer lloc, s'estudia en profunditat els projectes i la manera d'abordar-los al taller de Le Corbusier en el període comprès entre 1948 i 1954. En segon lloc es realitza una aproximació a l'estat de l'arquitectura a Colòmbia durant els mateixos anys, fent especial èmfasi en el treball desenvolupat pels companys de generació de Rogelio Salmona. Finalment s'analitzen les primeres obres realitzades per l'arquitecte al seu retorn a Colòmbia i s'estudien els seus escrits. Després d'aquest recorregut resulta possible identificar diversos punts en comú, que concerneixen a l'aproximació a l'ofici dels dos arquitectes, que es descriuen i s'il·lustren mitjançant alguns dels seus treballs. En tots dos casos, l'aproximació al projecte mitjançant l'elaboració i reelaboració d'una sèrie de variables establides dóna motiu a una manera de fer sistemàtica i infinitament rica en possibilitats. Aquesta investigació se serveix d'aquest cas concret per a indagar en un sentit més ampli sobre els mecanismes que operen en la transmissió del coneixement referits a l'àmbit dels projectes d'arquitectura.
Mejía Vallejo, CE. (2015). Rogelio Salmona y Le Corbusier: sobre la permeabilidad del hacer [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/53306
TESIS
Premiado

Este trabalho enfoca o processo de intercâmbio ocorrido entre Le Corbusier e os arquitetos modernistas brasileiros agrupados em torno de Lúcio Costa, enquanto significativo exemplo de troca cultural no marco da modernidade . A análise centra-se nos projetos urbanísticos como modalidades do imaginário moderno, carreando, em suas imagens e idéias, significados muito além dos propósitos específicos e pragmáticos que os justificam. Os projetos excepcionais e exemplares com referência no urbano são tomados como verdadeiras elaborações de sonhos, desejos de p.rogresso e coesão social, voltados a induzir e representar um futuro imaginário coletivo. Reconhece-se nestes projetos traços da utopia como discurso que coloca no espaço alternativas de um devir social, considerando-se as transformações do discurso utópico a partir do iluminismo, no sentido de busca ativa de realização de estados sociais desejáveis . As três viagens deLe Corbusier ao Brasil, em 1929, 1936 e 1962, e as intensas relações desse com a paisagem local e os brasileiros, são analisadas em suas diversas facetas, como um primeiro movimento na trajetória de uma troca cultural que redundaria posteriormente na emergência inesperada de uma versão peculiar da arquitetura e urbanismo modernistas com grande repercussão internacional, emanando de um lugar até então marginalizado do processo de criação cultural . São enfocadas as mudanças que o contato com o Brasil e os brasileiros teriam estimulado ou reforçado na obra corbusiana e, no sentido inverso, a sua influência decisiva na formação de uma arquitetura e urbanismo modernistas de fõlego no país. A relação dos modernistas brasileiros com o arquiteto franco-suíço é vista como inserida em um esforço das vanguardas nacionais a partir dos anos vinte, tendo o duplo objetivo de realizar ou representar um processo de criação cultural autóctone e sancionado conforme os padrões modernistas internacionais. Os paradoxos e tensões advenientes de tal bipolaridade são enfatizados no trabalho, considerados típicos de uma modernidade como acelerada transformação . O Brasil do periodo, antes de constituir-se lugar "externo" à cultura moderna, representa espaço da suprema manifestação de uma transformação avassaladora, onde tudo sempre se projeta para o futuro. O intercâmbio enfocado é visto como de mútua influência, e não como relação unilateral entre mestres e discípulos, interação criativa que não elimina a autonomia de ambas as partes.
This work focuses on a process of exchange that involved Le Corbusier and brazilian architects Iead by Lucio Costa. It is considered as an example of cultural relationship in the context ofmodemity. The analysis is centered on urban projects which are viewed as imaginary expressions, encompassing, by the ideas and images they convey, meanings far beyond their alleged specific purposes. These exeptional urban projects are thus exarnined and viewed as expressions of collective dreamings of a society eager for progress and development, seeking cohesion based on certain ideas and images of its own future.We recognise in these urban and architectural "heroic" designs, a defined utopian character. We consider "utopia" as a discourse anda set ofimages that creates new space pattems as representations of desired future states of a society. This is related to new forros of utopian thought, that have evolved since the eigtheenth century, in the sense of active and forcefull realization. The three joumeys of Le Corbusier to Brazil, in 1929, 1936 and finally in 1962, and the intense interaction the architect established with the .brazilian landscape and people, is analised from different and multiple angles. These visits are considered as a beginning of a process that eventually led to an "improbable" and unexpected emergence of the Brazilian modernist urban design and architecture. The present work approaches the changes in latter Corbusian work and life provoked or reinforced by his brazilian experience. At the same time it focuses on the influence ofLe Corbusier in the emergence of Brazilian modemist architecture and urbanism. This peculiar version of what is a largely recognized as an "intemational" cultural forro has had exeptional repercussions throughout the world. This fact, deserves further analysis and explanation considering that Brazil has always been marginalized from the mainstream production of cultural standards. The relationship between the French architect and the Brazilian modernists is viewed as an episode of a long struggle led by brazilian avant garde, in na effort to create and induce the forroation of a culture at the same time expressing authentic Brazilian values, as well as of perfect insertion into intemational modem standards. These paradoxical intents and goals have generated tensions considered typical of "modernity" as an ever moving cultural and existential condition. In this sense, the Brazil of the period studied emerges, not as a marginal and provincial place, removed from the modem world, but an environment where modernity achieves its maximum pace, projecting itself constantly into the future.

The meeting of architecture as a human action that constructs the landscape of the earth with geography, governed by natural laws, was conceived by Le Corbusier as a composition in which he confronted the visual attributes of both in order to enhance the plastic value inherent to their opposition. This was managed by architectural instruments based on the perception of that link.The site, the tangible reality transformed to make way for architecture, revealed him the memory of a perceptual synthesis of the senses, involved in the experience of space; a stimulus to his imagination that triggered the architectural action. He posed his principies on the relationship between the architectural space he arranged and its surroundings, which he considered a part of what was structured with the architectural siting. The boundaries between these fields at different scales -the inside, to the measure of man and the outside, to the measure of the landscape, both set to the rhythm of natural cycles- were subject to constant variations in his work based on requirements of that link in specific situations, until they were turned into mechanisms that modulate the values present in the immediate environment. With those mechanisms, he transformed the enveloping values into sensitive inner space attributes by means of architectural layout and, in its plastic realization, he unveiled the sensitive -even though invisible- presences of the site. We inquire about the relationships Le Corbusier built between the physical and sensitive -always-mutating- presence of the site , with two models conceived by him to manage the domestic space starting from some of his principies such as the fixation of the relative position of the house's core for collective life in relation to the ground floor. Also, the placement of the architectural intervention among what was visible towards its four horizons and those ruled by the boundaries mentioned above, which he set to link the spatial order that confined the built body's interior with its surroundings. By relating each model with its surroundings, these boundaries had a repercussion in their conception as instruments for establishing relationships with the environment: downward with the ground, upward with a cosmic level and to each side with the horizon -the very scene of human activities-. Two of Le Corbusier 's works in the city of Ahmedabad at the dawn of the 1950's -the residence for Manorama Sarabhai and the Mill Owner's Association Building- are good examples of the relationships he established between the particular conditions of the site and their own body of knowledge and tradition:the two principie systems with which he had arranged the domestic space in his previous work, locating men in a diverse way in relation to the world. In both projects he carne up with solutions in which the sensitive, visible and invisible, presences of the site became evident. He managed and modulated their perception with the instruments of the craft, patiently tuned in previous unbuilt projects.These two projects are part of immemorial tradition, of the discipline's legacy that played an active role in the work of the Swiss master by building the flow of his paradigmatic references. Naturally, this includes the instruments implemented, but also those incorporated as experience that, even without having operated in his body of work ,we dare to think they were dormant in his mind as a pre-felt architecture. Le Corbusier 's extensive production with which he promoted a great variety of issues related to the profession -and that could be described as wide- acquires to our interest an analog sense to that which he attributed to the works of the past: as exemplarv constructions of the practice of architecture ..., as masterpieces.
El encuentro entre la arquitectura como acción humana constructora de paisaje sobre la Tierra y la geografía regida por leyes naturales fue concebido por Le Corbusier como una composición en la que enfrentó los atributos visuales de ambas para intensificar el valor plástico de su oposición, lo que ajustó mediante instrumentos arquitectónicos en función de la percepción de ese vínculo. El sitio, realidad concreta a transformar para dar lugar a la arquitectura, revelaba a sus ojos la memoria de una síntesis perceptiva de los sentidos que intervienen en la experiencia espacial, un estímulo a su imaginación que desencadenaba la actuación arquitectónica. Planteó su criterio sobre la relación entre el espacio arquitectónico que ordenaba y lo que lo rodeaba, que consideraba parte de lo que estructuraba con el emplazamiento arquitectónico. Los límites entre esos ámbitos de diferente escala -el de adentro a la medida del hombre y el de afuera a la medida del paisaje, ambos ritmados por los ciclos de la naturaleza - fueron objeto de constantes variaciones en su obra en función de solicitaciones que ese vínculo requería en situaciones precisas, hasta concretarlos como instrumentos moduladores de los valores presentes en el medio circundante. Con estos transformó esos valores envolventes en atributos sensibles del espacio interior mediante la disposición arquitectónica y, en su realización plástica, reveló aquellas presencias sensibles -aunque no visibles- del lugar. Indagamos sobre las relaciones que construyó Le Corbusier entre la presencia física y sensible del sitio -siempre variable- con dos modelos que concibió para ordenar el espacio doméstico a partir de algunos de sus principios, como son los de la fijación de la posición relativa del núcleo de la vida colectiva de la casa en relación con el suelo terrestre, los de disposición de la intervención arquitectónica entre lo que era visible hacia sus cuatro horizontes o los que rigen los mencionados límites que planteó para vincular el orden espacial que confinaba en el interior del volumen construido con lo que había en torno a él. Estos límites, al relacionar cada modelo con sus contactos alrededor, repercutieron en su concepción como instrumentos de relación con el medio: hacia abajo con lo terrestre, hacia arriba con el ámbito cósmico y hacia cada lado con los horizontes -la escena propia de las actividades humanas-. Dos obras construidas por Le Corbusier en la ciudad india de Ahmedabad al despuntar la década del cincuenta del pasado siglo -la residencia para Manorama Sarabhai y la sede para la Asociación de los Hilanderos- son buenos ejemplos de las relaciones que estableció entre situaciones singulares y sus propias reservas: los dos sistemas de principios con los cuales había ordenado el espacio doméstico en su obra previa situando al hombre de diverso modo en relación con el mundo. En ambos proyectos dio lugar a soluciones en las que evidenció las presencias sensibles de los sitios, tanto visibles como no visibles, cuya percepción ordenó y moduló mediante instrumentos propios del oficio, pacientemente afinados en proyectos anteriores no edificados. Son dos proyectos inscritos en el tiempo inmemorial de la tradición, en el legado de la disciplina que cumplió un papel activo en la obra del maestro suizo al constituir el caudal de sus referentes paradigmáticos. Naturalmente que este incluye los instrumentos puestos en práctica, pero también aquellos incorporados como experiencia que, aun sin haber operado en su obra, nos atrevemos a pensar que se encontraban en estado latente en su imaginación, como arquitectura presentida. La extensa producción de Le Corbusier con la que promovió una gran variedad de problemas propios del oficio -y que cabe calificar como abarcadora- adquiere para nuestro trabajo un sentido análogo al que él atribuía a las obras del pasado: como construcciones ejemplares del ejercicio del oficio, como maestras .

El objetivo de la tesis ha sido el comprobar a través de los textos de Ozenfant y Le Corbusier como en el purismo existe la voluntad de construir un nuevo sistema y al mismo tiempo constatar como la propuesta de la colonia de Schoenberg analizada a la luz de sus oscitos teóricos sigue idénticos caminos estéticos. El dodecoforismo ha permitido pues iluminar por reflexión la vanguardia plástica.

The thesis studies Le Corbusier&rsquo
s Dom-ino clusters. It is a research in the field of architectural design. The aim is to explore and reveal the architectural potentials of Le Corbusier&rsquo
s mass-producible Dom-ino frame (1914), not only by concentrating on a single Dom-ino unit but by focusing mainly to the clusters of Dom-ino, searching for the logic behind their multiplication, how they come together and to what extent the units allow variety. To achieve this, six alternative Dom-ino clusters are analyzed, and alternative Dom-ino units are explored, other than the well-known single one. Today, Dom-ino is argued as an architectural diagram, and this research reinforces this argument. The analysis of both the clusters and the units with different plan types eventually puts forward that the Dom-ino frame identifies and exploits all the potentials of mass-production with the standardization of the elements and modularity of the structural grid
and it is an adaptable, flexible and consequently a generic frame that produces infinitely alternative solutions. For this reason, this thesis argues that resolving the way Dom-ino units come together, and analyzing how and in what scale they allow variety in producing clusters will introduce the tools for proper mass-housing, and consequently could produce solutions for today'
s mass-housing problems.

Les theories urbanistiques de le corbusier ont ete critiquees essentiellement a travers ses ecrits et une observation tres generale de ses projets. L'objectif de cette recherche est d'analyser les conceptions formulees par le corbusier dans le cas majeur de creation urbanistique que representent ses projets pour la ville d'alger. Il s'agit d'en mener la critique autour d'un axe central, le processus de conception, a partir duquel on remet en perspective les ecrits et les idees sociales et politiques de l'architecte. Les rapports complexes entre theorie et projet, entre projet et realite a transformer, font apparaitre une multiplicite de situations, ou le travail createur peut contredire les theories preetablies. On peut alors avancer certaines hypotheses sur la vraie nature du travail de le corbusier. La plupart des etudes effectuees jusqu'a present concernant les projets d'alger, sont restees tres sommaires, et se sont abstraites de leur contexte. Nous soutenons l'idee selon laquelle ces projets constituent la reponse contradictoire a l'urbanisme officiel "d'embellissement" concu pour la ville d'alger, qui est dans les annees 1930 le theatre de debats passionnes autour de sa modernisation. Il nous a semble interessant de confronter ces courants de planification urbaine, et de nous interroger sur les pensees sociales et politiques sous-jacentes. La premiere partie se propose de retracer le contexte des orientations de l'urbanisme et de l'architecture a alger avant 1935, et de situer ses sources historiques. La seconde partie est centree sur l'etude du processus de conception des projets de le corbusier, depuis les idees qu'ils apportent au cas precis d'alger, a la resolution des problemes de la ville moderne qu'ils proposent. On met de la en relief les effets de cette conception dans l'architecture de la ville. On degage les enseignements qui sont susceptibles d'etre tires au regard d'un projet urbain contemporain
Le corbusier's urban theories have been most of all criticized through out his pieces of writing and a general observation from his projects. This research aims to an analysis of the le corbusier's ideas, expressed in the major case of urban planning which represent his projets for the city of alger. It consists in leading their critic from a central point of vue, the creation process, at the prospect of which the architect's writings and social or political ideas, are situated. The complexity of connections between theory and project, and between project and reality beeing transformed, turns out into a multiplicity of situations, where the creator's work can be led to contredict the first theorical settings. We can, at that point, bring some hypotheses forward, about the true nature of le corbusier's urban work. Most of the studies that were led until now, dealing with the alger's projects, remained cursory, and did not take account of the context into which they fit. We hold the idea that these projects make up a response in contradiction to the official urban planning of "embellissement", concieved for the city of alger, which is during the 1930' years the theater of passionate debates around its modernization. It seemed interesting to confront those two opposite tendancies in urban planning, and to question about their social and political thinkings. The first part of the study proposes to relate the context of the urbanistic and architectural lines in alger around 1935, and to set its historical roots. The second part is focused on the analysis of the creation process in le corbusier's projects, from the ideas that they introduce in the particular case of alger, to the solution of a modern city's problems that they suggest. We bring out the effects of this creation in the architecture of the city. In today's viewpoint, we draw the learnings that can be looked upon, in a contemporary urban planning

This thesis attempts to define Le Corbusier’s understanding of the natural world. While this theme has frequently been discussed in the secondary literature, it has not yet been comprehensively addressed. Each chapter of the thesis approaches the topic from a different thematic angle, in an attempt to bring together the different aspects of Le Corbusier’s conception of nature. The first deals with his sense of nature as both ordered and Order: a way of thinking which owes more to pre-modern than modern culture. The second, in tackling the connection which Le Corbusier made between nature and the well-being of urban dwellers, considers a more instrumental aspect of his thinking. The third shows that he saw the experience of nature primarily as belonging to the private domain, and investigates the consequences of this for his cities. The fourth links the idea of the architectural promenade with the natural world and shows that nature was figured as both static image and dynamic experience by Le Corbusier. The fifth takes as its starting point his conviction that ‘primitive’ peoples lived in closer contact with nature than those of the industrialised world, but argues that he was not therefore guilty of the reductive, idealising approach to non-western culture usually associated with primitivism. Le Corbusier’s attitude to vernacular architecture, the dwellings of “natural” men, is explored in the sixth chapter, where the connection between the vernacular and the idea of the standard is considered. Throughout the intention is to position Le Corbusier as caught between an ancient sense of nature as cosmic order, full of symbolic potential, and a modern approach which sees nature as nothing more than an expanse of greenery or a view of trees.

Hoje em dia, a palavra luz é inevitável. Quando folheamos um livro de arquitectura é quase impossível não tropeçarmos na palavra luz. Todo o arquitecto que escreve sobre arquitectura, eventualmente, acaba por falar sobre a luz. Assim, a luz, é inegavelmente uma qualidade do espaço arquitectónico que, não pertence somente à arquitectura mas também à vida e ao mundo. Sem ela não existiria qualquer arquitectura. O tema desta dissertação – A luz tangível. A luz como ferramenta projectual na arquitectura de Le Corbusier – parte da análise da luz natural nas obras de Le Corbusier, onde é utilizada como uma verdadeira ferramenta projectual. Estudar a luz em Le Corbusier faz-nos compreender a importância que esta tem, não apenas na sua própria arquitectura, mas no modo como esta revela as formas na arquitectura, algo que se reflecte não só no seu período purista mas também ao longo de toda a sua carreira. O momento no qual o sol, durante o seu percurso habitual, se depara com a arquitectura, e o modo como ambos comunicam entre si, origina ambientes infinitos que podem ser alterados. Deste modo, e importante entender e distinguir os diferentes tipos de luz em relação à sua quantidade (da luz total até à sombra), qualidade (difusa e directa), e à direcção que efectua, quando encontra a arquitectura, durante o seu trajecto diário e, consequentemente, anual. O controlo da luz na arquitectura é possível, através da compreensão dos diferentes tipos de luz, mas terá de ser pensada tendo ainda em conta vários aspectos relacionados com a posição do sol relativamente a um edifício. O principal objectivo desta dissertação é analisar a utilização da luz verificada ao longo do discurso de Le Corbusier, ainda que de modo implícito ou explícito, de maneira a permitir explicar e sistematizar o seu significado. Tendo como base a luz como ferramenta projectual, percebemos que existem projectos que, apesar de serem completamente distintos tanto na forma como na função, podem ser agrupados devido às semelhanças entre estes. Após a análise de cada conjunto de projectos demonstra-se imprescindível fundamentar essas semelhanças ou diferenças, através de pequenas experiências, casos práticos e conclusões pessoais.
Today, the word light is inevitable. When we turn over the pages of an architecture book is almost impossible not stumble in the word light. Every architect who writes about architecture, eventually, ends up talking about light. So, the light is undeniably a quality of the architectural space that belongs not only to architecture but also to life and the world. Without it there would be no architecture. The theme of this dissertation - The tangible light. The light as projectual tool in Le Corbusier‟s architecture – comes from the analysis of natural light in the works of Le Corbusier, where it is used it as a real projectual tool. Studying the light on Le Corbusier makes us understand the importance this has, not only in his own architecture, but also in the way this reveals the forms in architecture, something that is reflected not only in its purist period but also throughout his career. The moment in which the sun, during its usual trajectory, encounters the architecture, and how both communicate with each other, causes infinite environments that can be modified. Therefore, it is important to understand and distinguish the different light types regarding to its quantity (from total light to shadow), quality (diffuse and direct), and its direction that performs, when meets the architecture, during his daily journey and, consequently, annual. The control of light in architecture is possible, through the understanding of the different light types, but must be thought also taking into account several aspects related to the position of the sun relatively to a building. The main objective of this dissertation is to analyze the use of light that is seen throughout the discourse of Le Corbusier, even if in an implicit or explicit way, in order to allow explain its meaning. Based on the light as a projectual tool, we realize that there are projects that, although they are completely different both in form and function, can be grouped due to the similarities between them. After analyzing each set of projects is essential support these similarities or differences, through small experiences, case studies and personal conclusions.

This essay is the basis for a thesis, according to which an urban transcendent planning tool belonging to the functional ideology of the Modern Movement may be acknowledged as being of prime importance. The theme is the Plan for Bogotá, elaborated in several phases by Le Corbusier and Josep Lluís Sert & Paul Lester Wiener between 1949 and 1963, This is a work which has been very sparsely mentioned in international historiography of architecture and/or urban planning, and has generated little or no critical interest or deep analysis as part of the Latin American regional case1, or particularly, that of Bogotá. This Plan, besides its projectual and instrumental novelties (for its time), is remarkable for its historical, methodological and practical dimensions and for its dialectic between the values and principles that guided it and its final product, the city itself. Through the study of the urban event, of the processes and the product created by this experience, the codes which reverberated through the Bogotá town planning will be eventually identified, then put to work to rescue questions and answers that may contribute ideas and solutions to contemporary town planning. Several significant events point out the historical importance of the Plan. It was not only the second and last time for le Corbusier and Sert ¿ two noted CIAM protagonists ¿ to work together in town planning, 16 years after participating in the Maciá Plan for Barcelona, but also the only Plan for a Latin American city completely worked out by Le Corbusier, having signed a formal contract for that purpose. Like Sert and other renowned architects, Le Corbusier strove to leave his own imprint in Latin America2. In the Colombian scope the Plan may be considered a significant event, being the work of two emblematic figures of the Modern Movement and also for its importance for Colombian society, involving it as a whole in a project that became part of its own future development by the creation of a pioneering instrument for an integral city project, and also for its instrumental content and the legal expression of a compendium of regulations in accordance with the principles and methodology of Modern Urbanism. However, this, like many other ideas and proposals towards modernization of cities, did not transcend their time nor were they registered in Colombian history as a notably significant chapter (del Castillo, 2003). In its methodological dimension, the Bogotá Plan incorporates several instrumental measures, not used previously in Modern Town Planning, either in its international or its local versions, among which the following may be noted : the proposal of a theoretical city model, summarizing the main elements of urban politics at city, metropolitan and regional levels. The city Civic Center ¿ and its replicas at quarter or ¿barrio¿ level - represents an entirely new urban function. Urban sectors and their street network, arranged in a hierarchy according to the 7v¿s Rule, as the indispensable basic structure for circulation and urban design at an intermediate scale and as a deductive result of Corbusian thought about the shape of cities at that date (Le Corbusier 1951: Jeanneret et al. 1951), 1959 (Bannen Lanata 1991; Cortés 1995; Salmona 2003). The graphic image of the Plan and its version for the CIAM grille, which consisted of a series of plans systematically arranged to show both the form and analysis of the proposals for the city, to be shown in comparison with other plans at the CIAM 8 meeting on The Heart of the City.

Målet är att få en bättre kunskap om Jean Prouvé och hans arbete, att förevisa om hans vikt i arkitektur- och designhistorien samt att upplysa om de idéer och ideal som var bakomliggande. En diskussion med några konkreta exempel förs runt det samarbete han närde med Le Corbusier och Charlotte Perriand. Detta tycks ha varit avgörande i mognaden och utvecklingen av hans stil och produktion.

 

The aim of this essay is to acquire a better understanding of Jean Prouvé’s work and of the importance his production had in the fields of architecture and design. It also aims to represent the ideas and principles that were underlying. A discussion is held about the professional collaboration Prouvé nourished with Le Corbusier and Charlotte Perriand by stating specific examples since it seems as relevant in the evolution of Prouvé’s production and style.

 

A cidade que nasce junto à água possui forte relação com ela. A sua evolução tem nesse elemento um limite já configurado. Sua forma irá determinar a morfologia dessa cidade. Esse trabalho propõe estudar, em diferentes escalas, a relação entre arquitetura e a água, desde seu uso como elemento de composição arquitetônica até seu papel na cidade. Para esse estudo serão analisados os projetos de Le Corbusier e sua influência sobre a arquitetura moderna brasileira, principalmente as suas propostas para frentes aquáticas adotadas em sua viagem para o continente americano, onde ele elabora estudos que são considerados importantes porque marcam a transição entre seus modelos de cidade ideal. Três deles, Montevidéu, Rio de Janeiro e Buenos Aires, se encontram junto ao mar. A proposta mais ousada foi elaborada para o Rio de Janeiro, onde impressionado com a paisagem carioca e sua cidade linear natural, ele propõe um edifício autoestrada que percorria a cidade esquivando os morros como um rio. Com intenção de substituir as favelas e garantir vista para o mar, resolveria assim o problema habitacional e de mobilidade em uma solução. E vai inspirar seus futuros projetos e mais tarde a arquitetura moderna brasileira, materializada através de exemplos como o edifício ‘Pedregulho’ de Reidy, no Rio ou o Copan de Niemeyer, em São Paulo, ambos baseados no edifício linear de expansão infinita.
The city that was born by the water has a strong relationship with it. Its evolution has in this element an already configured limit. Its shape will determine the morphology´ effect of this city. This work proposes to study, at different scales, the relationship between architecture and water from its use as architectural composition element to their role in the city. For this study will be analyzed the projects of Le Corbusier and his influence on modern Brazilian architecture, especially its proposals for water fronts adopted on his journey to the Americas, where he elaborates studies that are considered important because they mark the transition between their models of ideal city. Three of them, Montevideo, Rio de Janeiro and Buenos Aires, are by the sea. The boldest proposal was prepared for the Rio de Janeiro where impressed with Rio's landscape and its natural linear city, he proposes a building highway that ran through the city dodging the hills like a river. Intended to replace the slums and secure a sea view, would solve the housing and mobility problem into a solution. And will inspire your future projects and later the Brazilian modern architecture, embodied by example as the building 'Pedregulho' by Reidy in Rio or ‘Copan’ by Niemeyer in São Paulo, both based on linear building of infinite expansion.

Toute architecture est effet d’un sujet/architecte. La psychanalyse peut éclairer la dialectique nouée entre œuvres tangibles et sources subjectives, les trajectoires de Louis Kahn 1901-1974 et Le Corbusier 1887-1965, illustrent cette thèse. L’étude des périodes primordiales et de l’entrée en architecture dessinent les contours d’Un sujet/architecte. Comme divisé, il est vecteur de manifestations de l’inconscient perceptibles dans ses Ecrits essentiels et durant ses voyages initiatiques. Avec la psychanalyse sont relevés des indices de traits psychiques, auxquels sont assujetties les praxis, situant L. Kahn au champ de la névrose et Le Corbusier de la psychose, hors considérations cliniques. L’analyse de leurs projets manifeste chez l’un l’insistance de deux signifiants, lumière et masse, et chez l’autre des images de volumes géométriques, repérables depuis leurs petites enfances. La praxis Kahnienne s’origine d’un fantasme - $$<˃a - où l’objet a conjugue lumière et masse. Le Corbusier, quant à lui, soumit à une lourde pulsion scopique fait de l’architecture « le jeu [. . . ] des volumes assemblés sous la lumière ». L’architecture de L. Kahn associe ses objets causes du désir à d’autres recherchés chez l’Autre. L’usage y passe avant le design, elle est in finissable et établie sur le mode de la condensation. Le Corbusier élabore des standarts - objets universels, mortifiés, destinés à un homme type imaginaire sensible à une jouissance scopique universelle créée par l’assemblage des objets qu’il tient « dans sa poche ». A travers deux sujets/architectes, la psychanalyse met en évidence les enjeux de l’architecture entre esthétique, usages, et pertinence dans la culture. Al architecture is produced by a subject/architect. Psychoanalysis can illuminate the dialectic established between tangible works and the subjective sources, trajectories of Lois Kahn and Le Corbusier (1901-1974, 1887-1965) illustrate this thesis. The study of primordial periods and those of entry into architecture draw the contours of the singularity of the subject as architect. As divided he is the place of manifestations of the unconscious noticeable in his essential writings and during his initiatory journeys. With psychoanalysis are indicated some indices of psychological traits. They influence architectural works and allow situating L. Kahn in the field of neurosis - and Le Corbusier in psychosis. The analysis of their projects is showing in Kahn architecture the insistence of two signifiers - the light and the mass - and in the one of Le Corbusier the images of geometric volumes, identifiable since their childhoods. Kahn’s praxis originates a fantasy - [symbole du dollar]<˃a - where the object a combines the light and the mass. Le Corbusier, meanwhile, submits a heavy scopic drive feels architecture as “game […] of volumes brought together under light. ” The architecture of Louis Kahn combines its own cause’s objects of desire with others found in the Other. The use going on before aesthetics. Le Corbusier develops universals objects, mortified, he calls “standarts”. They must satisfied an imagined man, sensitive to universal scopic enjoyment created by assembling of objects he hold “in is pocket”
Al architecture is produced by a subject/architect. Psychoanalysis can illuminate the dialectic established between tangible works and the subjective sources, trajectories of Lois Kahn and Le Corbusier (1901-1974, 1887-1965) illustrate this thesis. The study of primordial periods and those of entry into architecture draw the contours of the singularity of the subject as architect. As divided he is the place of manifestations of the unconscious noticeable in his essential writings and during his initiatory journeys. With psychoanalysis are indicated some indices of psychological traits. They influence architectural works and allow situating L. Kahn in the field of neurosis - and Le Corbusier in psychosis. The analysis of their projects is showing in Kahn architecture the insistence of two signifiers - the light and the mass - and in the one of Le Corbusier the images of geometric volumes, identifiable since their childhoods. Kahn’s praxis originates a fantasy - [dollar sign]<˃a - where the object a combines the light and the mass. Le Corbusier, meanwhile, submits a heavy scopic drive feels architecture as “game […] of volumes brought together under light. ” The architecture of Louis Kahn combines its own cause’s objects of desire with others found in the Other. The use going on before aesthetics. Le Corbusier develops universals objects, mortified, he calls “standarts”. They must satisfied an imagined man, sensitive to universal scopic enjoyment created by assembling of objects he hold “in is pocket”

En el contexto social presente, donde la crisis se extiende más allá de la economía para abarcar todo el sistema productivo, renace una conciencia medioambiental con visos de transformarse en el sello ineludible de nuestra generación. Los excesos, entre ellos los arquitectónicos, obligan a la creación de propuestas de futuro basadas en la llamada “sostenibilidad”. Cuestión que, sin embargo, resulta confusa por la falta de información objetiva sobre el patrimonio edificado que sirva de apoyo a los nuevos modelos. La arquitectura contemporánea se asienta en los preceptos de la modernidad, la cual ha sido continuamente denostada desde un punto de vista medioambiental debido a una supuesta división de la arquitectura en dos grandes tendencias: la arquitectura tradicional y la arquitectura moderna. Le Corbusier, como principal exponente del movimiento moderno, defensor del internacionalismo en arquitectura, ha sido objetivo de la crítica del ámbito. Sin embargo, ya en los años treinta, cuatro décadas antes del inicio de los debates sobre sostenibilidad, el arquitecto suizo-francés inició un periodo de investigación sobre la adaptación de la arquitectura al entorno: protección ante el soleamiento, control de ventilación y humedad y construcción con sistemas naturales. Su intención era recuperar las enseñanzas de la cultura constructiva tradicional sin perder el papel renovador iniciado en la modernidad. Esta tesis analiza desde una doble visión histórica y técnica la obra de Le Corbusier entre 1930 y 1960, años en que desarrolló herramientas para la incorporación de soleamiento y ventilación en el proyecto moderno y que, posteriormente, ensayó en sus obras construyendo y perfeccionando diversos prototipos. El potencial de análisis de las actuales tecnologías de monitorización y de los sistemas de simulación informática -higrotérmica, anemométrica y lumínica- permiten dibujar y cuantificar aspectos ambientales de la arquitectura hasta ahora invisibles pero esenciales en su concepción. La investigación profundiza en la obra de Le Corbusier a dos niveles. En primer lugar desde el análisis bioclimático y lumínico se estudian los proyectos y obras que concluyeron con el desarrollo del brise-soleil (1930-1945): “Proyecto de alojamientos para obreros” (Barcelona, 1931), “Proyecto de complejo residencial Durand Oued Ouchaïa” (Argel, 1933), “Ministerio de Educación y Salud” (Rio de Janeiro, 1936), “Proyecto de rascacielos en el distrito La Marine” (Argel, 1938), “Manufactura Duval” (Saint Die, 1945) y “Unité d’habitation” (Marsella, 1945). El segundo nivel aborda la monitorización y simulación pormenorizadas de cuatro obras, a modo de prototipos construidos, que marcan el máximo grado en la relación entre arquitectura y medio ambiente dentro de la obra de Le Corbusier: “Casa Curutchet” (La Plata, 1949), “Palacio de la Asociación de Hilanderos” (Ahmedabad, 1952), “Casa de Brasil” (Paris, 1956) y “Convento de la Tourette” (Eveux-sur-l’Arbresle, 1956). Una hipótesis subyace en toda la investigación: el paralelismo histórico del contexto hace necesario revisar el modo en que Le Corbusier abordó las cuestiones medioambientales a partir de las enseñanzas de la arquitectura tradicional. En particular la serie de investigaciones realizadas entre los años treinta y sesenta que desembocaron en el desarrollo del brise-soleil y el aerateur. La lectura transversal propuesta en esta tesis desvela la aproximación metodológica del proyecto moderno al medio ambiente, el vínculo entre la arquitectura de Le Corbusier y su entorno, la relación del clima con la forma arquitectónica y lo necesario de hacer visibles los aspectos ambientales para generar visiones de la arquitectura aún por explotar, tanto en el proyecto como en la interpretación del patrimonio construido.

Il lavoro di ricerca svolto all’interno del Dottorato in Composizione architettonica coglie l’occasione di rileggere una pagina dell’intensa opera architettonica di una delle figure più rilevanti del Movimento Moderno per evidenziarne il grado di unicità che questa rappresenta all’interno dell’opera lecorbuseriana. Il progetto per il bastione Kellermann di Parigi del 1935 diviene architettura "inaspettata" in cui Le Corbusier si spinse per la prima volta ad un dialogo con la storia del luogo, mostrando il processo di costruzione dell’edificio come momento di verifica e dimostrazione di una serie di principi che aveva elaborato e teorizzato negli anni precedenti. Il caso-studio diviene punto di partenza per avviare una riflessione sull’architettura, poiché inserito in un ciclo di progetti rappresentanti un vero e proprio laboratorio di sperimentazioni progettuali che assumono un ruolo decisivo per comprendere il lavoro operato dall’Architetto sui temi che concorrono alla costruzione di una nuova idea di città, nella sua dimensione fisica e politica.