bluuebunny/crossref_metadata_2025_split huggingface dataset:
Arquitectura y tapiz de Le Corbusier. La trama y la urdimbre de la casa nómada
Authors: Gelabert Amengual Antoni 
Published: March 2016

Resumen: Durante la primera mitad del siglo XX Le Corbusier tuvo sus primeras experiencias con los tapices de la mano de la galerista Marie Cuttoli y, sobre todo, de Pierre Baudouin, profesor de Aubusson. El arquitecto no dudó en colocar su producción de cartones para tapices a la altura del resto de su creación artística, como ya hicieran antes Leger o Picasso. Comenzó entonces una reflexión sobre las propiedades tanto plásticas como acústicas de los tapices que tuvo oportunidad de experimentar en obras tan importantes como Chandigarh o el Hospital de Venecia. Todas las consideraciones al respecto fueron recogidas después en varios capítulos de sus Obras Completas. Pero fue en la vivienda donde Le Corbusier reconoció el mayor potencial para el tapiz. Fue en el espacio doméstico donde sus experiencias con el tejido adquirieron su máxima trascendencia, llegando a elaborar un discurso que entronca directamente con las disquisiciones de Semper y Loos sobre la potencia espacial del tapiz, al que otorgaba la capacidad de generar la casa para el hombre que la década de los 60 está moldeando. Abstract: During the first half of the twentieth century Le Corbusier had his very first experiences with tapestries thanks to the gallery director Marie Cuttoli and especially the teacher at Aubusson, Pierre Baudouin. The architect had no doubt in putting his production of tapestry cartoons at the same level of the rest of his artistic creations, as Leger or Picasso did before. Then he began a reflection on both plastic and acoustic properties of the tapestries, which he experienced in such important works as Chandigarh or the Venice Hospital. All considerations in this regard were collected in several chapters of his Complete Works. But it is in the home where Le Corbusier recognized the greatest potential for the tapestry. It is in the domestic space where his experiences with tissue acquired their utmost importance. He elaborated a discourse that connects directly with the disquisitions of Semper and Loos on the spatial power of tapestry, and that gives it the ability to generate the home for the man that the 60s decade is molding. Palabras clave: Tejido; tapiz; Semper; casa; nómada; contingencia. Keywords: Tissue; tapestry; Semper ; home; nomad ; contingency. DOI: http://dx.doi.org/10.4995/LC2015.2015.669
La Réaction Poètique of a Prepared Mind
Authors: Mindrup Matthew 
Published: March 2016

Abstract: This paper explores Le Corbusier’s practice of collecting and studying everyday objects as inspiration for new architectural ideas. An avid collector of ‘objets trouves’ that Le Corbusier referred to specifically as ‘objets à réaction poètique,’ he promoted their use claiming they gave direction to an imagination that alone might not be able to detect. Perhaps the most famous object in Le Corbusier’s collection was a crab shell that he used as inspiration for the design of the roof for his Notre-Dame du Haut chapel in Ronchamp, France. Although Le Corbusier’s use of this shell is well documented in studies on his oeuvre, little attention has been given to the role he intended found objects to play in his design process. In themselves these objects, which have their own identities as shells, pinecones or pieces of bone, they do not immediately lend themselves to any architectural solution. Rather, they are evidence of Le Corbusier’s unique approach to design that relies on a what Louis Pasteur referred to as a ‘prepared mind,’ availed of all relevant data and information pertaining to a task, that can search for solutions in random object or events by spontaneously shift back and forth between analytic and associative modes of thought. Keywords: Architectural model, Ronchamp, Design method, Imagination, Play, Objet trouve. DOI: http://dx.doi.org/10.4995/LC2015.2015.677
Fotografías que seccionan una mirada a Le Corbusier
Authors: Barberá Pastor Carlos 
Published: March 2016

Resumen: El texto, titulado Fotografías que seccionan una mirada a Le Corbusier, analiza algunas imágenes de casas construidas de Le Corbusier y Pierre Jeanneret. Las fotografías tienen características comunes que nos presentan un plano en dos dimensiones, el marco de un hueco, y un espacio en tres dimensiones, el de la habitación representada. Las fotografías, al mostrar un hueco y un espacio, incitan a pensar que se están refiriéndose a la experiencia arquitectónica de traspasar un vano. Interpretaciones sobre el uso y la actividad en el interior del espacio doméstico en relación con el espacio público componen el resto del escrito. Abstract: The text, entitled Photographs that severed a look at Le Corbusier, analyzes some pictures to houses built by Le Corbusier and Pierre Jeanneret. The photographs have common characteristics that lead to the interpretation that we have a plan in two dimensions within a hole, and three-dimensional space, the room represented. The photographs, showing a hole and a space, incite to think that they are referring to the architectural experience of crossing a vain. Interpretations on the use and activity within the domestic space in relation to the public space make up the rest of the writing. Palabras clave: Le Corbusier, Iglesia, Savoye, Cook, Planeix, Ozenfant. Keywords: Le Corbusier; Church; Savoye; Cook; Planeix; Ozenfant. DOI: http://dx.doi.org/10.4995/LC2015.2015.681
Ratio and the Divine Proportions: Le Corbusier and Rudolf Wittkower
Authors: Kirk Irwin James 
Published: March 2016

Abstract: This paper will evaluate Le Corbusier’s notion of ratio as expressed in his Modulor and Modulor 2. Particular emphasis will be placed on the dialogue (or polemical exchange) between Rudolf Wittkower and Le Corbusier contained within Modulor 2 concerning the nature of the Divine Proporzione. The historiography of this area of art and architecture includes a vigorous debate from the mid-twentieth century among Modernist architects and art historians over the nature of the Divine Proportions. It is in this context that the dialogue between Le Corbusier and Wittkower occurs. Le Corbusier describes human form with a Fibonacci-based number system expressed through a universally applied system of measure, Le Modulor. Wittkower describes a set of harmonic proportions, conceptually universal, that describe the essence of Renaissance Architecture. Both influenced the course of Modern Architecture in the late twentieth-century. Keywords: Le Modulor, Wittkower. DOI: http://dx.doi.org/10.4995/LC2015.2015.743
Bruno Zevi on Le Corbusier: another way to an “organic architecture”
Authors: Guido Luca 
Published: March 2016

Abstract: Bruno Zevi was an enthusiastic promoter of Frank Lloyd Wright’s architecture and theories. However, the critical enquiry and propaganda of the Italian architect and historian about so-called “organic architecture” reveals a major cultural debt to Le Corbusier. In 1945, Zevi published “Verso un’architettura organica” [Towards an organic architecture], the first version of his history of architecture. The title is clearly a polemical reference to Le Corbusier’s book “Vers une architecture” (1923). In 1977, together with other architects, Zevi promoted the Machu Picchu Charter, a document to “update” the Athens Charter (1933). The places held significance: Athens was the birthplace of western civilization and architectural rationalism. Machu Picchu symbolised the contribution of an alternative way of viewing the world. Are those merely examples of Zevi’s provocations? The relationship between Zevi and Le Corbusier is problematic and ambivalent. Zevi adopts the educational and communicative methods of Le Corbusier and his critical writing style, but his interpretation of the French-Swiss architect also demonstrates an attempt to delineate a new concept of “organic architecture”, related to his researches on a historiographic redefinition of the Modern Movement. Resumen: Bruno Zevi fue un entusiasta promotor de la arquitectura y las teorías de Frank Lloyd Wright. Sin embargo, la investigación crítica y la propaganda del arquitecto italiano e historiador sobre la llamada "arquitectura orgánica" revela una importante deuda cultural para Le Corbusier. En 1945, Zevi publicó "Verso un'architettura organica" [Hacia una arquitectura orgánica], la primera versión de su historia de la arquitectura. El título es claramente una referencia polémica al libro de Le Corbusier "Vers une architecture" (1923). En 1977, junto a otros arquitectos, Zevi promovió la Carta Machu Picchu, un documento para "actualizar" la Carta de Atenas (1933). Los lugares celebradas importancia: Atenas fue la cuna de la civilización occidental y el racionalismo arquitectónico. Machu Picchu simbolizaba la contribución de una forma alternativa de ver el mundo. Son esos meros ejemplos de las provocaciones de Zevi? La relación entre Zevi y Le Corbusier es problemática y bivalente. Zevi adopta los métodos educativos y comunicativos de Le Corbusier y su estilo crítico escrito, pero su interpretación del arquitecto franco-suizo también demuestra un intento de delinear un nuevo concepto de "arquitectura orgánica", en relación con sus investigaciones en una redefinición historiográfico de la Movimiento Moderno. Keywords: Bruno Zevi; Le Corbusier’s legacy; modern language invariants; five points; organic architecture. Palabras clave: Bruno Zevi; El legado de Le Corbusier; invariantes de lenguas modernas; cinco puntos; arquitectura orgánica. DOI: http://dx.doi.org/10.4995/LC2015.2015.760
Estrategias geométrico-matemáticas en la obra de Le Corbusier (1923-1933)
Authors: Larumbe Teresa 
Published: March 2016

Resumen: En la búsqueda de un nuevo orden ideal y universal, Le Corbusier alude constantemente al empleo de los trazados reguladores como instrumentos matemáticos que controlan el impulso creador e introducen la armonía en el trabajo creado, causa de la belleza y el placer estético. La confianza puesta en los trazados como garantía del orden en arquitectura, se manifiesta en el artículo que les dedicará en la revista L´Espirit Nouveau (1921), y que, en 1923, incorpora como un capítulo más en “Vers une architecture”. El objetivo de este trabajo es analizar la aplicación práctica de los trazados reguladores y otras estrategias geométricas y matemáticas en los proyectos del arquitecto suizo a lo largo de los años veinte, a partir de la aparición del famoso manifiesto. Los proyectos estudiados son los que han fijado las pautas del análisis, desvelando su evolución histórica y el alcance de su aplicación real en el transcurso de diez años. Abstract: Along his personal search for an ideal and universal order, Le Corbusier constantly refers to the use of the tracés regulateurs, as a mathematical tool with which the architect can manage his creative impulse and as a way to introduce the harmony in architecture, what is considered the main cause of the beauty and the aesthetic pleasure. Le Corbusier reveals his faith in the tracés as guaranty of architectural order not only in the magazine L´Espirit Nouveau (1921) but also in his celebrated book “Vers une architecture” (1923). The aim of this paper is to analyze the use of the tracés regulateurs during the architect´s projects throughout a decade, starting with the publication of the well know manifiesto. All the projects that had been studied have established the guidelines of the analysis, its historical evolution and the relevance of the tracès regulateurs in Le Corbusier’s early works. Palabras clave: Trazados reguladores; Geometría; Le Corbusier. Keywords: Tracés Regulateurs; Geometry; Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.787
Brise-soleil: principios y transformación en la obra de Le Corbusier
Authors: Morel Correa Silvia , Anzolch Roni , Pedrotti Renato 
Published: March 2016

Resumen: La actitud de Le Corbusier respecto a la superfície epidérmica de sus edifícios cambió en los años 20, cuando se percató de los problemas producidos al construir membranas de escaso espesor con amplias zonas acristaladas. Durante la década de 30, Le Corbusier trabajaba principalmente en países cálidos, y la invención del brise-soleil parecía ser la respuesta a los problemas de ganancia de calor. El brise en la obra de Le Corbusier jugó dos funciones importantes: una como elemento de adaptación al clima y la otra como elemento de composición de fachada. El objectivo del trabajo es rescatar la importancia que Le Corbusier daba a este elemento, para tanto aborda la evolución y la transformación del brise-soleil, en su propia obra. La metodologia del trabajo consiste en analisar las obras elegidas por su relevância en el tema desde un punto de vista medioambiental con base en los estudios de Almodovar, D. Siret y Requena, teniendo en cuenta la orientación y la protección solar en los solsticios de invierno y verano (Le Corbusier defendió que por lo menos hubieran dos horas de penetración solar en el invierno). Del mismo modo, desde el punto de vista arquitectónico se consideran aspectos como la forma arquitectónica, la integración al conjunto, la inserción en la fachada y la importancia en la composición. Abstract: Le Corbusier attitude on the epidermal surface of buildings changes when he realises, in the 1920s, that the problems caused by membranes of insufficient thick with large glazed areas. During the 1930s decade, Le Corbusier worked mainly in warm countries, and the invention of the brise-soleil seemed to be the answer to the problems of heat gain. The brise-soleil, in the work of Le Corbusier, played two important roles: one as an element of adaptation to the climate and the other as an element of composition of facade. The aim of this paper is to rescue the importance that Le Corbusier gave to this element, so it treats the evolution and transformation of the brise-soleil, in his own work. The methodology of the work consists of an analysis of works chosen for their relevance on the issue from an environmental point of view, based on the studies of Almodovar, D. Siret and Requena, considering the solar orientation and solar shading in the winter and summer solstice (Le Corbusier argued that there were at least two hours of solar penetration in winter). In the same way, from the architectural point of view, it treats aspects such as the architectural form, integration in the whole, insert on the facade and compositional importance. Palabras clave: protección solar; brise-soleil; Le Corbusier. Keywords: solar shading; brise-soleil; Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.923
All of Paris, Darkly: Le Corbusier’s Beistegui Apartment, 1929-1931
Authors: Anderson Ross James 
Published: March 2016

Abstract: This paper, All of Paris, Darkly, presents a focused study of Le Corbusier’s enigmatic Beistegui Apartment (1929- 1931) on the Champs-Elysée in Paris, with particular reference to the curious camera obscura periscope that was housed in a small lozenge-shaped pavilion on its rooftop. There are manifold reasons for the charisma of the apartment; from the flamboyant eccentricities of the client and his exchanges with the architect, to the exceptional location of apartment in the centre of Paris, to the apparent repudiation of some of Le Corbusier’s more strident proclamations on architecture and the city, to the historical conditions that have for all time occluded a definitive scholarly reading of the architectural production and subsequent inhabitation of the apartment. Grounded in an understanding of the primal visual phenomenon of the camera obscura, the paper advances an interpretation of the meaning of the periscope apparatus amidst the battery of unusual contrivances that animated the surrealist penthouse apartment. It further seeks to contribute to a greater understanding of some aspects of Le Corbusier’s thinking on architecture and the city. Keywords: Le Corbusier; Charles de Beistegui; camera obscura; uncanny; Surrealism. DOI: http://dx.doi.org/10.4995/LC2015.2015.928
The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember
Authors: Teodosio Annarita 
Published: March 2016

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable. Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947
Corbu’s Hands
Authors: Rumież Agnieszka , Oleszak Witold 
Published: March 2016

Abstract: The aim of presented paper is to grasp a sense in which Le Corbusier influenced his professional partners within ATBAT at 35 rue de Sèvres in Paris. On the example of Iannis Xenakis (Greek) and Jerzy Sołtan (Pole), which curriculum and experience will be superposed, authors wish to analyse a means in which the formation of Le Corbusier’s Collaborators induced a profoundly individualistic paths of both apprentices. Moreover it enabled both artists to develop autonomous views on creative activities, which still stayed in mutual compliance. That allows to speculate upon the forcefulness of approach towards passing skills that Le Corbusier applied in his Studio. With a parallel example of two pavilions for the World’s Fare Expo’58 in Brussels, it is presented how compatible, despite of being completely different in form, those two projects are. Resumen: El objetivo del articulo es comprender cómo Le Corbusier influenciado sus socios profesionales en ATBAT a los 35 rue de Sèvres en Paris. Con un ejemplo de Iannis Xenakis (griego) y Jerzy Sołtan (polaco), autores desean analizar un medio en el que la formacion de Colaboradores de Le Corbusier indujo a profunda indualistas sendas de los dos aprendices. Con un ejemplo paralelo de dos pabellones para Expo'58 Fare del Mundo en Bruselas, se presenta el grado de compatibilidad, a pesar de ser completamente diferente en la forma, son los dos proyectos. Keywords: Le Corbusier; Xenakis; Sołtan, post-war architecture, ATBAT, composition. Palabras clave: Le Corbusier; Xenakis; Sołtan, arquitectura de la posguerra, ATBAT, composición. DOI: http://dx.doi.org/10.4995/LC2015.2015.948
Le Corbusier and the American Modulor
Authors: Mameli Maddalena 
Published: March 2016

Abstract: The definition of the Modulor as a set of measurements obtained through “universal” rules for composition of the new architecture has a long and complex development, stemming from a combination of studies in architecture, geometry and mathematics, but also from approximation and intuition. The process began in Paris in 1920, was completed in 1946 in New York and its results were published in an autobiographical vein in 1950 in the book entitled Le Modulor completed in 1955 by the book Le Modulor II. In his trip to New York in 1946 as French delegate for the project of the United Nations’ headquarters, his urgency to define the Modulor responded to an immediate need: to create a simple tool and a compositional principle to be applied to the United States’ building programme and to UN reconstruction and recovery programs. Unfortunately Le Corbusier did not manage to find a patron in America. He was unable to apply the Modulor in the USA. Not so in Europe, where work started on building the Unités d’habitation in Marseilles. Resumen: La definición del Modulor como un conjunto de medidas obtenidas a través de reglas "universales" para la composición de la nueva arquitectura tiene un largo y complejo desarrollo, derivada de una combinación de estudios de arquitectura, geometría y matemáticas, sino también de aproximación y intuición. El proceso comenzó en París en 1920, se completó en 1946 en Nueva York y sus resultados se publicaron en el libro titulado Le Modulor completado en 1955 por el libro Le Modulor II. En su viaje a Nueva York en 1946 como delegado francés para el proyecto de la sede para las Naciones Unidas, la urgencia de definir el Modulor respondió a una necesidad inmediata: para crear una instrumento fàcil y un principio compositivo que se aplicará al programa de construcción de los Estados Unidos y para los programas de reconstrucción de la ONU. Desafortunadamente Le Corbusier no encontró un patrón en América. No fue capaz de aplicar el Modulor en los EE.UU.. No es así en Europa, donde comenzó a trabajar en la construcción de la Unités d'habitation de Marsella. Keywords: New York; UN Headquarter; Modulor; USA. Palabras clave: New York; Naciones Unidas; Modulor; USA. DOI: http://dx.doi.org/10.4995/LC2015.2015.984