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1
Brott, Simone. "The Le Corbusier Scandal, or, was Le Corbusier a Fascist?" Fascism 6, no. 2 (December 8, 2017): 196–227. http://dx.doi.org/10.1163/22116257-00602003.
Повний текст джерелаАнотація:
In 2015 an essay by the architect Marc Perelman was printed in Le Monde claiming Le Corbusier was a fascist and that the French academy had whitewashed this from architectural history. The 2015 exhibition Le Corbusier: Mesures de l’homme, a major retrospective of the architect, held at the Centre Pompidou was adduced as evidence since it did not mention Le Corbusier’s politics, despite three French books on Le Corbusier’s fascism appearing in 2015, and the scandal that erupted around them. The letter was signed by myself, Zeev Sternhell, Xavier de Jarcy, Marc Perelman, and Daniel de Roulet; and reprinted in English by Verso in January 2017. The Fondation le Corbusier, who are unhappy with this turn of events, wrote to me asking me why I signed the letter. This essay will attempt to answer the question by evaluating the French quarrel, on both sides, and allegations about Le Corbusier’s fascism.
2
Charitonidou, Marianna. "Le Corbusier’s Ineffable Space and Synchronism: From Architecture as Clear Syntax to Architecture as Succession of Events." Arts 11, no. 2 (April 4, 2022): 48. http://dx.doi.org/10.3390/arts11020048.
Повний текст джерелаАнотація:
This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony. This article analyzes the reasons for which Le Corbusier insisted on the necessity to discover or invent “clear syntax” through architectural composition. He believed that the power of architectural artefacts lies in their “clear syntax”. Particular emphasis is placed on the relationship of Le Corbusier’s theories of space with those of Henri Bergson and the De Stijl movement. At the core of the reflections that are developed here are Le Corbusier’s “patient search” (“recherche patiente”) and the vital role of the act of drawing for the process of inscribing images in memory. For Le Corbusier, drawing embodied the acts of observing, discovering, inventing and creating. This article also relates Le Corbusier’s interest in proportions and his conception of the Modulor to post-war Italian neo-humanistic approaches in architecture. It intends to render explicit how Le Corbusier’s definition of architecture was reshaped, shedding light on the shift from defining architecture as clear syntax to defining architecture as the succession of events.
3
Huet, Jacobé. "Prospective and Retrospective: Le Corbusier’s Twofold Voyage d’Orient." Muqarnas Online 38, no. 1 (December 6, 2021): 291–330. http://dx.doi.org/10.1163/22118993-00381p10.
Повний текст джерелаАнотація:
Abstract In 1911, a twenty-three-year-old Le Corbusier embarked on a six-month journey from Dresden to Istanbul, and back to his native Switzerland through Greece and Italy. Upon his return, the young architect unsuccessfully attempted to publish his travel notes as a book in 1912 and again in 1914. Only in 1965, forty days before his death, did Le Corbusier conduct the final revision of his 1914 typescript for publication. The next year, Le Voyage d’Orient was published posthumously. Previous scholarship on this book has overlooked the importance of Le Corbusier’s 1965 edits, consequently approaching the work as an authentic testament of the author’s youthful spirit. Based on a new and contextualized reading of the 1914 typescript hand-annotated by Le Corbusier in 1965, this article demonstrates how the late edits constitute a re-writing of a segment of Le Corbusier’s own history, especially in relation to his ideas of modernity, tradition, inspiration, and attachment to Mediterranean architecture.
4
Ghosh, Nabaparna. "MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH." Journal of Architecture and Urbanism 40, no. 3 (September 25, 2016): 220–28. http://dx.doi.org/10.3846/20297955.2016.1210048.
Повний текст джерелаАнотація:
Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.
5
Bing, Judith. "Le Corbusier and the Romanian Cula." Journal of the Society of Architectural Historians 76, no. 2 (June 1, 2017): 146–53. http://dx.doi.org/10.1525/jsah.2017.76.2.146.
Повний текст джерелаАнотація:
While Le Corbusier's famous “journey to the east” has been the subject of numerous investigations as an important chapter in the great modernist's formative years, his days in Romania while en route to Constantinople are thinly covered. Le Corbusier and the Romanian Cula helps to fill that gap by focusing on one important detail: discovery of the identity and location of a much-discussed building he sketched while there and its importance for both traditional Romanian architecture and Le Corbusier's emerging vision of modernity. Judith Bing's discussion of her long search and unexpected discovery draws on firsthand knowledge of vernacular architecture in the Balkans, including Romania, and a long-standing interest in the early travels and subsequent modern architecture of Le Corbusier.
6
Gandini, Bénédicte, and Michel Richard. "The Role of the Fondation Le Corbusier in the Conservation of the Le Corbusier's Architectural Work." LC - 50 Years After, no. 53 (2015): 12–17. http://dx.doi.org/10.52200/53.a.z5dbvfnb.
Повний текст джерелаАнотація:
Le Corbusier died on 27 August 1965 at Roquebrune-CapMartin, near his Cabanon. Without direct heirs and driven by the fear that his carefully conserved archives and works be scattered after his death, Le Corbusier spent the last fifteen years of his life conceiving and implementing, down to its smallest details, the project of a Foundation that would bear his name. Today the activity of the Fondation Le Corbusier comprises two main undertakings: circulating his work and spreading his ideas; preserving the architect’s work and collections. Indeed as the legatee and direct offshoot of its creator Le Corbusier, the Foundation holds the moral rights to this work and therefore has a duty to constantly watch over his architectural work (and indeed the artist’s entire legacy). For the Foundation each of his buildings constitute a piece of art in and of itself. Each issue concerned in the restoration of Le Corbusier’s buildings is effectively governed by this specificity.
7
Pabich, Marek, and Anna Maria Wierzbicka. "Twórczość architektoniczna Le Corbusiera w Paryżu a wolność decyzji. Architektura mieszkaniowa." Środowisko Mieszkaniowe, no. 39 (October 31, 2022): 4–19. http://dx.doi.org/10.4467/25438700sm.22.009.16587.
Повний текст джерелаАнотація:
Autorzy przeprowadzili analizę licznych ograniczeń towarzyszących Le Corbusierowi w pracy zawodowej i ich wpływu na ostateczny kształt budynków mieszkalnych zrealizowanych w Paryżu. Wskazali na źródła tej architektury i omówili rozmaite uwarunkowania, które powodowały zmiany decyzji architekta. W tekście znajdą się spostrzeżenia autorów wynikające z wizyt w obiektach projektowanych przez Le Corbusiera, przybliżona zostanie relacja z inwestorami w trakcie projektowania domów mieszkalnych, ukazany będzie ich stan aktualny oraz przekształcenia, które nastąpiły na przestrzeni XX w. Tekst powstał w wyniku analizy materiałów źródłowych, kwerendy w Fondation Le Corbusier, badań przeprowadzonych in situ i rozmów z użytkownikami. Architectural work of Le Corbusier in Paris and freedom of decision. Housing architecture The authors analyzed the numerous limitations accompanying Le Corbusier in his professional work and their impact on the final shape of residential buildings constructed in Paris. At the same time, they point to the sources of this architecture and discuss various conditions that caused changes in the architect’s decisions. The text will include the authors’ observations resulting from visits to the facilities designed by Le Corbusier, the relationship with investors during the design of residential houses will be presented, their current condition and the transformations that have taken place over the twentieth century will be presented. The text was created as a result of the analysis of source materials, a query at Fondation Le Corbusier, research conducted in situ and interviews with users.
8
Bacon, Mardges. "Le Corbusier and Postwar America." Journal of the Society of Architectural Historians 74, no. 1 (March 1, 2015): 13–40. http://dx.doi.org/10.1525/jsah.2015.74.1.13.
Повний текст джерелаАнотація:
In 1946 Le Corbusier returned to the United States in conjunction with a French mission to study American architecture, public works, and planning. He traveled with Eugène Claudius-Petit, who would become minister of reconstruction in France. Their principal objective was to visit the Tennessee Valley Authority, considered a model for postwar reconstruction. In Le Corbusier and Postwar America: The TVA and Béton Brut, Mardges Bacon argues that the TVA’s regional planning and societal synthesis served as a model for Le Corbusier’s second-machine-age civilization. The TVA’s reinforced concrete dams employed industrial piping and a new formwork technique. Examining Le Corbusier’s postwar agenda through the prism of the TVA and a collaborative practice, Bacon contends that his work showed greater monumentality and plasticity, the integration of architecture and infrastructure, and an aesthetic treatment of béton brut, which situates his Unité d’Habitation in Marseilles (1945–52) within a transatlantic as well as a Mediterranean culture.
9
Samuel, F. "Le Corbusier Before Le Corbusier." Journal of Design History 16, no. 2 (January 1, 2003): 192–94. http://dx.doi.org/10.1093/jdh/16.2.192.
Повний текст джерела
10
Cantero Vinuesa, Antonio. "Hablar para habitar: herramientas orales para la historia, el análisis y el proyecto de la arquitectura." Cuadernos de Proyectos Arquitectónicos, no. 12 (December 12, 2022): 54–65. http://dx.doi.org/10.20868/cpa.2022.12.4956.
Повний текст джерелаАнотація:
ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (1926-1930), con el propósito de contrastar la historia conocida sobre la visión del arquitecto con la realidad vivida por sus habitantes. Utilizando este caso de estudio, el objetivo es realizar una interpretación de lo oral como herramienta transversal para la historia, el análisis y el proyecto de la arquitectura, y con ello mostrar el valor instrumental de las entrevistas con los habitantes como nexo entre los hábitats y quienes los habitan.AbstractIn developing a more inclusive architectural history, using oral history as a methodology for accessing silenced experiences, sharing forgotten knowledge, and transcending the drawn or built construct can be enlightening. In 1972, the English version, Lived-in Architecture, Le Corbusier's Pessac Revisited, of architect Philippe Boudon's book, Le Corbusier's Pessac (1969), was published. His research was based on oral accounts of those who lived in Le Corbusier's housing project in the industrial neighborhood of Pessac on the outskirts of Bordeaux (1926- 1930), to contrast the known history of the architect's vision with the reality lived by its inhabitants. Using this case study, the aim is to interpret the oral source as a transversal tool for the history, analysis, and design of architecture, and thus to show the instrumental value of interviews with the inhabitants as a link between the habitats and those who inhabit them.
11
Cantero Vinuesa, Antonio. "To speak in order to inhabit: oral tools for the history, analysis, and design of architecture." Cuadernos de Proyectos Arquitectónicos, no. 12 (December 12, 2022): 97–99. http://dx.doi.org/10.20868/cpa.2022.12.4963.
Повний текст джерелаАнотація:
ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (1926-1930), con el propósito de contrastar la historia conocida sobre la visión del arquitecto con la realidad vivida por sus habitantes. Utilizando este caso de estudio, el objetivo es realizar una interpretación de lo oral como herramienta transversal para la historia, el análisis y el proyecto de la arquitectura, y con ello mostrar el valor instrumental de las entrevistas con los habitantes como nexo entre los hábitats y quienes los habitan.AbstractIn developing a more inclusive architectural history, using oral history as a methodology for accessing silenced experiences, sharing forgotten knowledge, and transcending the drawn or built construct can be enlightening. In 1972, the English version, Lived-in Architecture, Le Corbusier's Pessac Revisited, of architect Philippe Boudon's book, Le Corbusier's Pessac (1969), was published. His research was based on oral accounts of those who lived in Le Corbusier's housing project in the industrial neighborhood of Pessac on the outskirts of Bordeaux (1926- 1930), to contrast the known history of the architect's vision with the reality lived by its inhabitants. Using this case study, the aim is to interpret the oral source as a transversal tool for the history, analysis, and design of architecture, and thus to show the instrumental value of interviews with the inhabitants as a link between the habitats and those who inhabit them.
12
Kelley, Christine M. "The Chiasm: The Inverse Parallel of Le Corbusier." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 154–68. http://dx.doi.org/10.4995/lc.2023.19871.
Повний текст джерелаАнотація:
The “axis” is ubiquitous in Le Corbusier’s architectural oeuvre. “The Chiasm: The Inverse Parallel of Le Corbusier” examines the concept of the axis in the essays, “Architecture, Pure Creation of the Mind,” and “Architecture, The Illusion of the Plan,” published in Vers une architecture (1923). Le Corbusier writes: “…a sense of the harmonious that gives rise to a resonance…” and “…the trace of an indefinable absolute preexisting at the core of our being.” And decisively, “This must be the axis along which man is organized…”. The axis Le Corbusier described is, in fact, a chiastic device he employed in his writings, drawings and architecture. Chiasmus, conceptually defined, is the “inverted repetition of grammatical structure.” Inversion, as two sides of the axis, identifies representations of things related and simultaneously different. The twentieth century French philosopher Maurice Merleau-Ponty identifies the chiasm as a concept to describe the body as sensible and sentient, a reflection in relation to the self, others, and the perceived world. Merleau-Ponty uses the chiasm to clarify reversibility and the phenomenological experience. Merleau-Ponty’s theories of chiastic inversion substantiate the chiastic structure that supports Le Corbusier’s ideology and his search for a harmonious milieu that is based in the axis.
13
Alonso Pereira, José Ramón. "Le Corbusier 24NC Un fragmento habitado de la Ville Radieuse = Le Corbusier 24NC An inhabited fragment of the Ville Radieuse." Cuaderno de Notas, no. 15 (November 28, 2014): 67. http://dx.doi.org/10.20868/cn.2014.2958.
Повний текст джерелаАнотація:
Considerado siempre como el hábitat corbuseriano por excelencia, el apartamento-atelier de Le Corbusier en Porte Molitor es una villa individual sobre un edificio colectivo edificado --según su propia expresión-- en condiciones de Ville Radieuse. Radieuse, radiante, es el término empleado para definir la ciudad ideal: una urbe moderna imaginada dentro de un gran parque. Este texto pretende analizar esa casa radiante: el lugar y el espacio donde Le Corbusier vivía y sus modos de habitarlo a través del tiempo, desde 1934 hasta su muerte, tres décadas más tarde. Porque 24NC supone el paso del proyecto a la vida: de proyectar la Ville Radieuse, a vivir en ella. Abstract Ever considered the corbusian habitat for excellence, the appartement of Le Corbusier at 24NC Porte Molitor is an individual villa over a rent collective building edified –as he used to say-- on Ville Radieuse conditions. Radieuse, radiant, isthe word used to define the ideal city: a modern urbs imagined within a large park. This paper tries to analyse this maison radieuse: the place and the space where Le Corbusier lived in and his ways of living in along the time, from 1934 to his death in 1965. To study the double aspect of habitat and living. To analyse the place and the space where Le Corbusier lived, at his projects and his metaphors: the maison radieuse, the urbs in ortu, the crystal house, the labour archipielago, with its different islands of paints and books, of papers and memories... Because 24NC suppose the transit from project to life: from planning Ville Radieuse, to living in.
14
Voldman, Daniele, and Gerard Monnier. "Le Corbusier." Vingtième Siècle. Revue d'histoire, no. 19 (July 1988): 126. http://dx.doi.org/10.2307/3769788.
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15
Van Faassen, Sjoerd, and Herman Van Bergeijk. "Theo van Doesburg and Le Corbusier." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 62–101. http://dx.doi.org/10.4995/lc.2023.19945.
Повний текст джерелаАнотація:
Theo van Doesburg (1883–1931), the founder of De Stijl, once wrote: “As far as architecture is concerned, one can speak of modern architecture up to and after 1923”[1]. This was not a direct reaction to Le Corbusier's Vers une architecture (1923), Van Doesburg and the young architect Cornelis van Eesteren, designed a Maison d'Artiste in the same year that mocked many sound architectural laws. Maison d'Artiste and similar designs can be understood as a confrontation of his ideas on architecture with those of Le Corbusier, with whom he felt in constant competition. With these ideas he attempted, in vain, to occupy and define a place in architectural history alongside Le Corbusier. [1] “Wat de architectuur aangaat kan men van een moderne architectuur tot en na 1923 spreken”. ‘Data en Feiten (betreffende de invloedsontwikkeling van ‘De Stijl’ in ’t Buitenland) die voor zich spreken’ [Data and Facts (concerning the evolution of the influence of ‘De Stijl’ abroad) that speak for themselves], De Stijl no. 79/84 ([December] 1927): 56.
16
Kania, Joanna. "Wpływ Jednostki mieszkaniowej Le Corbusiera na powstanie „Superjednostki” w Katowicach." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 12, no. 1 (January 24, 2017): 7–15. http://dx.doi.org/10.35784/teka.717.
Повний текст джерелаАнотація:
W latach międzywojennych rozpoczęto twórcze poszukiwania rozwiązania problemu mieszkaniowego. Znajdujące się w kamienicach niewielkie pomieszczenia zostały uznane przez modernistów za niewystarczająco komfortowe środowisko do zamieszkania. W 1933 roku, podczas IV Kongresu CIAM2, przy wsparciu Le Corbusiera uchwalono Kartę Ateńską, w której znalazły się postulaty dotyczące nowoczesnej zabudowy powstającej w zdrowej, miejskiej przestrzeni. Odbywając podróże studialne po Europie, Le Corbusier pogłębiał swoje doświadczenie zawodowe, które wykorzystał w projekcie tzw. „Jednostki Mieszkaniowej” (Unite d’Habitation). Na bazie jego rozwiązań zaczęły powstawać podobne budynki. W Polsce była to Superjednostka w Katowicach zaprojektowana przez Mieczysława Króla. Przeprowadzona w artykule analiza stanowi próbę odnalezienia wpływu idei Le Corbusiera na projektowanie podobnych realizacji zabudowy mieszkaniowej.
17
Zaknic, Ivan. "Voyage d'Orient: Carnets, La Chaux-de-Fonds et Jeanneret avant Le Corbusier, Le Corbusier, le passé à réaction poétique, Le Corbusier Secret, Les Mains de Le Corbusier, Le Corbusier à Cap-Martin, Le Corbusier." Journal of Architectural Education 42, no. 3 (April 1989): 49–59. http://dx.doi.org/10.1080/10464883.1989.10758531.
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18
Udovicki-Selb, Danilo. "Le Corbusier and the Paris Exhibition of 1937: The Temps Nouveaux Pavilion." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 42–63. http://dx.doi.org/10.2307/991215.
Повний текст джерелаАнотація:
This essay examines the circumstances leading to the completion of Le Corbusier's and Pierre Jeanneret's Temps Nouveaux Pavilion and reconstructs both the significant role Jeanneret played in the pavilion's design and the relationships Le Corbusier used in his partially successful effort to be represented at the International Exhibition of 1937. This episode sheds light on Le Corbusier's attempts at seducing the French Left, after a protracted yet futile courtship of the Right. While suggesting a new reading of Le Corbusier's design strategies in the larger urban system of Paris, this essay attempts to fill the gaps in our understanding of the ways in which the architectural avant-garde tried to identify and handle its clients and broader social groups.
19
Cattaneo, Daniela Alejandra, and Jimena Paula Cutruneo. "“THE OUTSIDE IS ALWAYS AN INSIDE”: THE IDEA OF SPACE AND ITS THEORETICAL HERITAGE IN “TOWARD AN ARCHITECTURE”." Journal of Architecture and Urbanism 40, no. 3 (September 25, 2016): 250–58. http://dx.doi.org/10.3846/20297955.2016.1210049.
Повний текст джерелаАнотація:
The article proposes to delve deeper in the idea of space in Le Corbusier’s Toward an Architecture (1923), focalizing in its connections with the past and urban design. When in his book Le Corbusier presents his “trois rappels a messieurs les architectes” – volume, surface and plan (in its broad sense) – he outlines the keys to his idea of space. It proves imperative to use Le Corbusier’s original term “Rappel” as its word play transcends any possible translation. Space is therefore defined as a Rappel (call) to architects, but also as a Rappel (reminder, evocation) to multiple theorizations and ideas that have traversed architecture throughout history. Le Corbusier’s argument understands the directions of space as an extension, showing his affiliation with a tradition of French thinking that, in architecture, subscribes since Viollet le Duc to the Cartesian Method, in which spatiality is understood – from the Barroque – both Outside and Inside. It is proven that, in clear continuity with French architectural tradition and drawing inspiration from the ideas of Auguste Choisy, Le Corbusier defines with the mass and the void a space in which “the Outside is always an Inside”. Thus, it is demonstrated that not only the links with the past but also the material resources for the definition of such space are common in different scales, from the definition of an inside up to the urban design.
20
Lapunzina, Alejandro. "The pyramid and the wall: an unknown project of Le Corbusier in Venezuela." Architectural Research Quarterly 5, no. 3 (September 2001): 255–70. http://dx.doi.org/10.1017/s1359135501001300.
Повний текст джерелаАнотація:
In 1951, Le Corbusier designed a funerary chapel in Caracas to honour the memory of Colonel Carlos Delgado-Chalbaud, the recently assassinated president of the Venezuelan military junta. This enigmatic project – unknown until now – provides an interesting insight into Le Corbusier's use of architectural references and their layers of symbolic meaning. Most documents have mysteriously disappeared, but the few remaining have allowed the project to be reconstructed rather accurately.
21
Brott, Simone. "THE GHOST IN THE CITY INDUSTRIAL COMPLEX: LE CORBUSIER AND THE FASCIST THEORY OF URBANISME." Journal of Architecture and Urbanism 40, no. 2 (June 16, 2016): 131–42. http://dx.doi.org/10.3846/20297955.2016.1181012.
Повний текст джерелаАнотація:
In 1927 le Faisceau’s newspaper Le Nouveau Siècle printed a feature “Le Plan Voisin” on Le Corbusier’s 1922 redesign of Paris, including an extract Le Centre de Paris from his Urbanisme (1925). Le Corbusier’s book was considered the “prodigious” model for the Fascist state that the league’s leader Georges Valois called La Cité Française – after his mentor the French engineer and revolutionary philosopher Georges Sorel, who, originally on the radical left, would eventually be credited as the parent of twentieth-century fascist thought. Valois and Le Corbusier had inherited the longer genealogy of French thought from the turn of the century, namely the bitter opposition to the French revolution, and quarrel with the Enlightenment that was characteristic of many French intellectuals in the early twentieth-century. The final page of Urbanisme features a painting depicting Louis XIV ordering the construction of les Invalides (1670). “Homage to a great urbanist: This despot conceived great things and realized them.” The image was produced at the dawning of the French enlightenment: its contents would become the precise object of the fin de siècle reactionary movements of the 1880s that gave birth to le syndicalisme. Le Corbusier thereby historicises his project for the new Paris.
22
Fraser, Valerie. "Cannibalizing Le Corbusier: The MES Gardens of Roberto Burle Marx." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 180–93. http://dx.doi.org/10.2307/991589.
Повний текст джерелаАнотація:
In 1938 Roberto Burle Marx designed the gardens for the new Ministry of Education building in Rio de Janeiro, a building that had been designed by a team of Brazilian architects, with Le Corbusier acting as consultant. In the 1920s and 1930s, Brazilian radicals, anxious not to perpetuate the dependency of the past, often adopted an irreverent attitude toward European culture, and although Le Corbusier's visits to Brazil in 1929 and 1936 were undoubtedly influential, his ideas were not received uncritically. This paper suggests that Le Corbusier's negative attitude to aspects of the natural landscape of South America could have provided Burle Marx with an incentive for incorporating the forms of that landscape into his gardens for Brazil's first modernist skyscraper.
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Bodei, Silvia. "Le Corbusier Biólogo." Dearq, no. 4 (July 2009): 24–37. http://dx.doi.org/10.18389/dearq4.2009.03.
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Torres Cueco, Jorge. "Tim Benton. The Painter Le Corbusier: Eileen Gray's Villa E 1027 and Le Cabanon." LC. Revue de recherches sur Le Corbusier, no. 9 (March 27, 2024): 228–29. http://dx.doi.org/10.4995/lc.2024.21282.
Повний текст джерелаАнотація:
Coincidiendo con el cincuenta aniversario del fallecimiento de Le Corbusier, Tim Benton escribió Le Corbusier, peintre à Cap-Martin (Éditions du Patrimonie, 2015), que fue objeto de una reedición seis años después, también en francés. Sobre esta villa también ha publicado Cap Moderne. Eileen Gray and Le Corbusier. Modernisme by the Sea (2022) y ha colaborado en la antología E1027. Restoring a House by the Sea (2022). Con esta nueva versión inglesa viene a completar la difusión de este valioso libro que incide en una reconsideración crítica de la figura de Le Corbusier.
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Lesko, Thomas M. "Teaching a thorough, repeatable design process for ambiances in architecture." SHS Web of Conferences 64 (2019): 02006. http://dx.doi.org/10.1051/shsconf/20196402006.
Повний текст джерелаАнотація:
Le Corbusier, it has been said, defined architecture as "the poetry of construction" and as such, the term "ambiances" is reminiscent of those great words. In order to create that special quality, that poetry, that ambiance in architecture, a design concept that is the result of a thorough, repeatable design process must be employed. The purpose of this paper/presentation is to explain the design thinking/design tools we need to teach our students, i.e. the future Le Corbusiers of the world, how to create those special qualities that make ambiances/poetry in architecture possible.
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Pearson, Christopher. "Le Corbusier and the Acoustical Trope: An Investigation of Its Origins." Journal of the Society of Architectural Historians 56, no. 2 (June 1, 1997): 168–83. http://dx.doi.org/10.2307/991282.
Повний текст джерелаАнотація:
Le Corbusier's later theory and production were largely informed by two important considerations: his idea of "ineffable space" (l'espace indicible), and his singular conception of "acoustics," which he apparently used as a troping or analogical tool in his design method. Le Corbusier was to describe the chapel at Ronchamp (1950-1954), for example, as a building that employed an "acoustic component in the domain of form," and suggested that the project began by taking into account "the acoustic of the landscape." The sources of this cryptic appeal to "acoustics" can be identified with some precision. Its initial possibilities were discovered during Le Corbusier's youthful visit to the Acropolis. During his Purist period the same conceit, now transmuted into a trope of "radiation," was applied to the way works of art interacted with their architectural surroundings. The acoustical analogy, drawing parallels between the emission of sound, light, and psychic energy, was fully established in his competition entry for the League of Nations Headquarters of 1927, a project examined here in some depth. It was in theorizing the role of sculpture in modern architecture-as well as the role of architecture in its landscape setting-that Le Corbusier first came to his paradigmatic trope, which thus finds its origins much further back than his late "synthetic" projects, where it was ultimately to achieve its most effective manifestations.
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Naegele, Daniel. "Drawing-over: une vie decantée. Le Corbusier y Louis Soutter." Ra. Revista de Arquitectura 6 (May 11, 2018): 43–54. http://dx.doi.org/10.15581/014.6.25940.
Повний текст джерелаАнотація:
Louis Soutter, primo de Le Corbusier, era un afamado violinista que, al final de su vida, fue internado en un sanatorio suizo. Soutter amaba dibujar. Sus figuras humanas, lascivas y alargadas, flotan juntas como un fluido, extendiéndose de arriba a abajo y de margen a margen, decorando cualquiera de las superficies que Soutter cubría. Cuando Le Corbusier dio a Soutter copias de sus afamados libros, rápidamente ‘sobredibujó’ en sus imágenes. Sus dibujos no anulaban el texto visual, sino que lo comentaban. Resultaba una intrigante dialéctica. En un artículo de 1936 de la revista Minotaure, Le Corbusier describía con benevolencia a Soutter como un artista espontáneo. Después de la Segunda Guerra Mundial, el propio Le Corbusier practicó el ‘sobredibujo’. El diálogo visual tan ambiguo que resulta de ‘verter’ garabatos sobre imágenes preestablecidas, es único en la oeuvre de Le Corbusier. Éste es el tema del artículo.
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Eamvijit, Suriyaporn. "Modernism and the Gender Trouble: Techno-Utopia and Gender Politics in the 20th Century Design." Journal of Architectural/Planning Research and Studies (JARS) 20, no. 1 (July 26, 2022): 55–72. http://dx.doi.org/10.56261/jars.v20i1.249560.
Повний текст джерелаАнотація:
Among prominent figures in the architectural field of the twentieth century, Le Corbusier was undoubtedly the most renowned. His key writing Vers Une Architecture (Towards a New Architecture) was received with praise and has been regarded as the manifesto of modern and contemporary architecture ever since. His projects have become symbols of the end of the old regime and the possibility for a new democratic society. However, his revolutionary mission apparently diminishes gender issues. Although there is extensive research about Le Corbusier’s works, only a few investigated the gender aspects of his works or incorporated his artistic works into the analysis. Among several studies on politics of gender in modernist architecture, what is still lacking is the analysis of Le Corbusier’s works that are not architectural. This paper aims at examining the relationship between Le Corbusier’s architectural as well as his artistic works and gender politics through the lens of Henri Lefebvre’s spatial theory and feminist theories. The paper focuses on the modernist aesthetic, technology, and gender politics in spatial arrangements and designs, especially in the domestic sphere, that are discussed mainly in Le Corbusier’s Towards a New Architecture and his poetry collection Poem of the Right Angle. An analysis of spatial representations in both works reveals how the architect’s obsession with purist functionalism and the glorification of technology propagate the conventional concept of femininity and reduces female subjects to a unit of domestic labor. On the other hand, the paper contrasts the work of Le Corbusier with that of Margarete Schütte-Lihotzky to demonstrate how the very same aesthetics can be a design that favours women when it is appropriated by female professionals who think about equality both in terms of class and gender.
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Bruez, M., B. Gandini, and D. Groux. "LE CORBUSIER’S APARTMENT-STUDIO : 3D MODEL DATA OF PRELIMINARY RESEARCH FOR THE RESTORATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 285–91. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-285-2019.
Повний текст джерелаАнотація:
<p><strong>Abstract.</strong> Fondation Le Corbusier and A-BIME have collaborated to collect, analyse and organize preliminary research data for the restoration of the Le Corbusier’s apartment-studio in Paris using a methodology based in a 3D model. This work, developed by A-BIME since 2014, has been financed by Fondation Le Corbusier thanks to a “Keeping it modern Grant”, giving by the Getty Foundation. The aim is to have faster and easier access to various data of the building by using a clear and documented digital graphic document.</p><p>For each step, the archives provided by the architect and the companies have been studied to understand and know the nature and quality of materials, technical arrangements and their on-site implementation. A study on technical installations and isolation as be provided as well by investigation in the apartment. By switching between the documents and the images, the know-how increases along with the development of the 3D model; the architectural elements have been drawn and modelled from the archive data and from the survey and diagnostic phase.</p><p>The numerical construction, based on precast elements, follows the pioneering efforts of specialized architects with the BIM (Building Information Model) technology. Thanks to the .IFC format the model has been imported in several software in order to proceed structural and hydrothermal simulations. The results have been used has guidelines by the Fondation Le Corbusier to forecast the consequences of restoration choices.</p>
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Ducros, Françoise. "L’Art décoratif d’aujourd’hui de Le Corbusier. Polémique et théorie critique de « l’aile gauche » de Vers une Architecture." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 116–35. http://dx.doi.org/10.4995/lc.2023.20048.
Повний текст джерелаАнотація:
Avec L’Art décoratif d’aujourd’hui, Le Corbusier a publié en 1925 l’un de ses livres séminaux sur un sujet particulièrement complexe et aporétique dans un contexte d’affrontements et d’échanges nationaux et internationaux. Dans cette seconde partie, il s’agit de s’interroger sur les soubassements et les orientations de la polémique ouverte par la préparation de l’Exposition internationale des arts décoratifs et industriels modernes tout en convoquant, au-delà des difficultés d’interprétation de l’ouvrage, les éléments de l’apport corbuséen à l’approche théorique critique de son champ de pensée.
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Jahnkassim, Puteri Shireen, and Norwina Mohd Nawawi. "ALLUSIONS TO MUGHAL URBAN FORMS IN THE MONUMENTALITY OF CHANDIGARH’S CAPITOL COMPLEX." Journal of Architecture and Urbanism 40, no. 3 (September 25, 2016): 177–90. http://dx.doi.org/10.3846/20297955.2016.1210050.
Повний текст джерелаАнотація:
The formative influence of the Mughal gardens on the urban spaces of the Capitol Complex, Chandigarh is discussed as part of Le Corbusier’s vision in realising new urban symbols to represent an independent India. Corbusier had not only “regionalised” Modernist elements of architectural design but had “modernised” past urban forms by artfully rejecting the traditional gridded patterns and urban traditions such as the Mughal gardens, and transforming them into a dynamic restructuring and interplay of urban forms and spaces. To disassociate the new capital from its Colonial past and to create a new sense of spatial drama symbolising the nation’s hopes for the future, Fatehpur Sikri’s renowned orthogonal and gridded urban plazas with its interconnected courtyards and cloisters, became part of Corbusier’s arsenal of precedents, and these were abstracted and reworked into a new orchestration of urban spaces; and integrated with Modernised concrete architectural forms. The garden archetype and recurring traditional Mughal devices such as the “chattri” and the trabeated terraces allusions were simplified and synthesised with overlapping “spaces-between-buildings” such as bodies of water, platforms and a series of roofscapes. The influence of the Mughal gardens is again seen in a subsequent project in later years by Corbusier i.e. the unbuilt proposal for the Venice Hospital, whose layout and planning carry similar overtones of overlapping courtyards but fused into a series of outdoor-indoor spaces due to the need to be cognizant of, and sensitive to, the historical fabric and tissue of an existing city.
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Carapiá Lima Baptista, Mg Arq Piero. "Vers un Nouveau Continent." ARQUISUR, no. 9 (July 11, 2016): 30–43. http://dx.doi.org/10.14409/ar.v0i9.5799.
Повний текст джерелаАнотація:
Diversas investigações buscaram avaliar os impactos de Le Corbusier no meio profissional sul–americano. Muitas dessas centraram–se nas influencias de suas viagens a América do Sul (1929, 1936, 1947, 1949, 1950, 1951 e 1962); na divulgação do ideário corbusiano por arquitetos latino–americanos que realizaram estágios profissionais com Le Corbusier e; nos projetos propostos pelo Mestre para o continente. Outro caminho, pouco explorado, objeto deste artigo, será: por um lado, a análise dos artigos publicados nas revistas especializadas sul–americanas pelo próprio Le Corbusier ou por profissionais locais e; por outro lado, analisando a lógica das publicações dos livros de Le Corbusier (em espanhol e português), na qual profissionais vinculados a ele tiveram papel decisivo. No primeiro caso identificamos: a relação entre a publicação de artigos e o interesse dos profissionais sulamericanos em temas específicos; a preocupação por adotar e adaptar as ideias corbusianas a cada realidade; a atitude crítica por parte dos profissionais sul–americanos; o interesse por manter–se «atualizados» sobre a obra do Mestre e; o intenso contato entre os diretores das diversas revistas. No segundo caso é possível entender o contexto e a importância da tradução dos livros de Le Corbusier, influenciando na escolha dos livros traduzidos e publicados.
Palabras clave
Arquitetura moderna; Le Corbusier; Movimento moderno; Revistas especializadas; Urbanismo moderno
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Samuel, Flora. "Le Corbusier and the Art of Architecture." Architectural Research Quarterly 13, no. 1 (March 2009): 16–19. http://dx.doi.org/10.1017/s1359135509990066.
Повний текст джерелаАнотація:
Le Corbusier – The Art of Architecture is the vague and loaded title given to a marvellous but somewhat random collection of Le Corbusier material that has been touring Europe, until recently housed in Lutyens' crypt in Liverpool Cathedral before landing in London this spring at the Barbican, where it feels at home in Brutalist surroundings. The exhibition has provided the inspiration for a festival of Le Corbusier events and talks, competitions and workshops across the country. The question, however, is why?
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Mantilla Salgado, José Miguel. "La experiencia formativa de Le Corbusier en Viena. 1907-1908." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 102–17. http://dx.doi.org/10.4995/lc.2023.19865.
Повний текст джерелаАнотація:
Le Corbusier residió en Viena entre los meses de noviembre de 1907 y marzo de 1908. Durante aquel periodo se alejó del pensamiento romántico, pero pesimista y conservador de John Ruskin, para acercarse a los designios liberales y optimistas que sellaron la última fase del Romanticismo alemán. Ruskin proclamaba la renuncia al progreso y abogaba en defensa de los valores culturales del pasado medieval. Los germanos Gottfried Semper y Richard Wagner afirmaban, por otro lado, la lucha contra las convenciones y posaban la mirada en el futuro, con optimismo y gran admiración por la tradición clásica helénica. En la obra de Wagner y otros compositores del Romanticismo tardío, Le Corbusier pudo apreciar el espíritu artístico característico de dicho período. Tras su experiencia en Austria y posteriormente en Alemania, sus ideales artísticosse acercaron al pensamiento de Semper, pese a que es probable que no lo leyera nunca, en mayor medida que al de Ruskin, a quién si leyó en su juventud[1]. [1] José Miguel Mantilla; Untangling the Threads of Gottfried Semper's Legacy in Le Corbusier's Formative Years. Journal of the Society of Architectural Historians 1 June 2020; 79 (2): 192–201. doi: https://doi.org/10.1525/jsah.2020.79.2.192
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Zaparaín Hernández, Fernando. "LE CORBUSIER: CONCURSOS Y PALACIOS." Proyecto, Progreso, Arquitectura, no. 7 (2012): 160–73. http://dx.doi.org/10.12795/ppa.2012.i7.11.
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Martinelli, Patrizio M. "House, Street, City: Le Corbusier’s Research Towards a New Urban Interior." Interiority 2, no. 2 (July 30, 2019): 129–53. http://dx.doi.org/10.7454/in.v2i2.57.
Повний текст джерелаАнотація:
Le Corbusier’s investigations, conducted between the 1910s and the 1930s, were focused on a new relationship between street and building. This research started from texts about the city, in particular, the writings of Eugène Hénard’s. These essays, dating back to 1903-1909, dealt with the necessity of a renewed strategy for the urban street, breaking down the monotony and the problems related to the sequence of buildings and creating a series of places as squares, gardens, and open courtyards: actual urban rooms between streets an buildings. Learning from those texts, Le Corbusier worked on a series of polemical writings about the rue corridor, collected in particular in The City of Tomorrow, Precisions and The Radiant City. A series of projects explored to the extreme consequences the topic: the Dom-ino building principle used for collective housing evolved to the redent, detached from the infrastructure, and the immeuble villa, with its inhabited façades. Finally, the curved redent for the Plan Obus in Algiers transformed the street itself into a "building as city" flowing in the landscape. The essay follows how Le Corbusier transforms the street and its traditional urban components in interior elements inside the buildings.
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Outmoune, Nadjat, and Abdelmalek Arrouf. "The Design Process at Le Corbusier, Case of the Ronchamp Chapel." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 1275–82. http://dx.doi.org/10.1017/dsi.2019.133.
Повний текст джерелаАнотація:
AbstractThis work falls within the empirical studies of design activity. Its project is to understand Le Corbusier's designing way and how does he work and structure his design processes. Doing so, it jumps above the descriptive and doctrinal knowledge of objects produced by “Le Corbusier” to study the actions and mechanisms that led to them.To achieve its aim, this study uses genetic method, developed by P.M. De Biasi of literary origin, this research method is made of three stages. The first one, which is of empirical nature, is one of data gathering. It leads to the establishment of genesis tables and to the classification of the all collected documents. The second stage, makes the analysis of all the collected documents one by one. It allows the restitution of the creative process of one projects “Le Corbusier” which is “la chapelle de Notre Dame du haut de Ronchamp”. The last stage is finally that define the design processe of the this project. The results show that the design activity of “Le Corbuiser” obeys the overall logic of one generic model which may be called his individual designing style.
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Dawes, Michael J., Michael J. Ostwald, and Ju Hyun Lee. "The Mathematics of ‘Natural Beauty’ in the Architecture of Andrea Palladio and Le Corbusier: An Analysis of Colin Rowe’s Theory of Formal Complexity Using Fractal Dimensions." Fractal and Fractional 7, no. 2 (February 2, 2023): 139. http://dx.doi.org/10.3390/fractalfract7020139.
Повний текст джерелаАнотація:
In a famous architectural discussion, Colin Rowe links the geometric properties of two sixteenth century villas by Andrea Palladio and two twentieth century villas by the architect Le Corbusier. Rowe observed that different structural systems produced heightened geometric complexity in cross sections through Palladio’s villas and in Le Corbusier’s plans. Rowe also described a particular type of geometric scaling in portions of the four villas which he partially explains as a type of mathematical ‘natural beauty’ akin to the golden ratio and Fibonacci sequence. In his writings, Rowe refers to several geometric properties that encapsulate complex, scaled structures, but he lacked a mathematical system to rigorously describe and test his ideas. The present paper utilises the box-counting method for calculating fractal dimensions to analyse 100 images, consisting of architectural plans, sections, and elevations of the four villas and two Fibonacci sequences, to test Rowe’s ideas. Ultimately, the results of this research do not support the majority of Rowe’s claims about geometric complexity in the villas of Palladio and Le Corbusier, but they do provide insights into Rowe’s discussion of geometric scaling and the properties of four famous houses.
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Boone, Veronique, and Gregorio Carboni Maestri. "The Corb Legagy. A conversation with Kenneth Frampton." LC. Revue de recherches sur Le Corbusier, no. 4 (October 1, 2021): 132. http://dx.doi.org/10.4995/lc.2021.15794.
Повний текст джерелаАнотація:
<p>Esta entrevista se realizó el 6 de septiembre de 2019 con Kenneth Frampton, Ware Professor à la Graduate school of architecture, planning, and preservation, Columbia University of New York. Esta conversación forma parte de una serie de entrevistas con destacados historiadores y arquitectos que marcan la primera generación de estudios sobre la figura y la obra de Le Corbusier, realizada con el apoyo de la Fundación Le Corbusier. Este intercambio filmado y transcrito cuestiona el terreno en el que Kenneth Frampton ha estudiado a Le Corbusier e integrado la obra del arquitecto en su investigación sobre la arquitectura moderna. Aborda cuestiones relacionadas con la arquitectura y los edificios de Le Corbusier (como la Unité d’habitation, las villas Roq y Rob y la Maison de week-end); el proyecto del Movimiento Moderno y la influencia de sus ideas antes y después de las guerras mundiales en Europa, Londres, Gran Bretaña y la escena americana. Figuras como el Atelier 5, Peter Eisenman, Lluis Sert e instituciones como la Conference of Architects for the Study of the Environment y Harvard, así como una comprensión más profunda de nociones como el regionalismo crítico o lo vernáculo en la obra de Le Corbusier también han sido temas de conversación. Frampton evoca su relación con Le Corbusier y habla de sus escritos, como editor técnico de la revista Architectural Design y posteriormente como historiador, con la edición de Modern Architecture: A Critical History.</p>
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O’Byrne, María Cecilia. "¿Herederos de Le Corbusier?" Dearq, no. 14 (July 2014): 169. http://dx.doi.org/10.18389/dearq14.2014.13.
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Salas, Philip Weiss. "¿Dónde está Le Corbusier?" Dearq, no. 15 (December 2014): 195. http://dx.doi.org/10.18389/dearq15.2014.15.
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Dynes, Wayne R. "Medievalism and Le Corbusier." Gesta 45, no. 2 (January 2006): 89–94. http://dx.doi.org/10.2307/25067133.
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Jeannot, Gilles. "Le Corbusier et Paris." Vingtième Siècle, revue d'histoire 17, no. 1 (1988): 109–10. http://dx.doi.org/10.3406/xxs.1988.1965.
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Högner, Bärbel, and Jürg Gasser. "Chandigarh beyond Le Corbusier." Roadsides 004 (September 2020): 33–42. http://dx.doi.org/10.26034/roadsides-202000405.
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Jeannot, Gilles. "Le corbusier et Paris." Vingtième Siècle. Revue d'histoire, no. 17 (January 1988): 109. http://dx.doi.org/10.2307/3768801.
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Bovati, Marco, and Martina Landsberger. "Le Corbusier cinquant'anni dopo." TERRITORIO, no. 80 (May 2017): 48–49. http://dx.doi.org/10.3280/tr2017-080008.
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Galimberti, Cecilia Inés, and José Luis Rosado. "Le Corbusier en Weissenhofsiedlung." A&P Continuidad 5, no. 8 (July 1, 2018): 116–27. http://dx.doi.org/10.35305/23626097v5i8.109.
Повний текст джерелаАнотація:
A 90 años de la Weissenhofsiedlung, aquel icónico barrio y exposición de vivienda de 1927, el presente artículo indaga en torno a las ideas y propuestas de dicha exhibición, como también en su rol como nodo clave en la formación del llamado Movimiento Moderno, en especial en torno al papel desempeñado por Le Corbusier. Nos proponemos revisar el proyecto, el complejo proceso de su gestación, los debates y críticas que suscita tanto al momento de su exposición, como durante el proceso de transformación que atraviesa el conjunto a través de los años, y el tratamiento que ha recibido en la historiografía del urbanismo y la arquitectura. Finalmente, reflexionamos sobre su estado actual y sobre las posibles líneas de fuga que posibilita revisitarlo, en especial como disparador para repensar nuestras ciudades y arquitecturas contemporáneas.
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Cattaneo, Daniela. "Revisitando a Le Corbusier." A&P Continuidad 5, no. 8 (July 1, 2018): 6–9. http://dx.doi.org/10.35305/23626097v5i8.97.
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Colomina, Beatriz. "Le Corbusier and Photography." Assemblage, no. 4 (October 1987): 6. http://dx.doi.org/10.2307/3171032.
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von Moos, Stanislaus, and Margaret Sobiesky. "Le Corbusier and Loos." Assemblage, no. 4 (October 1987): 24. http://dx.doi.org/10.2307/3171033.
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