bluuebunny/crossref_metadata_2025_split huggingface dataset:
L’Architecture Vivante y Le Corbusier
Authors: Moreno Moreno María Pura 
Published: March 2016

Resumen: Las publicaciones especializadas de arquitectura facilitan la difusión de ideas, métodos y técnicas del período concreto de su existencia. Sus contenidos, analizados al cabo del tiempo, conforman un atlas de pensamiento capaz de enmarcar la interpretación social de un contexto espacio-temporal bajo el prisma de lo constructivo. Jean Badovici funda en 1923, junto al periodista Christian Zervos, la revista L’Architecture Vivante (1923-1933) editada por Albert Morancé. La aparición en sus páginas de una arquitectura técnicamente bien definida, acompañada de reseñas redactadas con rigor crítico por su director, o por los propios autores de las obras, hicieron de ella un instrumento prestigioso de propagación de las nuevas ideas entre el público profesional. Una relectura contemporánea de los textos y proyectos publicados, permite detectar el itinerario intelectual llevado a cabo por sus responsables respecto al convulso y cambiante entorno arquitectónico europeo en el que fijaron su mirada. En esa evolución, manifestada en apenas el período de una década, hay que subrayar el protagonismo adquirido por la obra de Le Corbusier que, a partir del cierre de L’Esprit Nouveau en 1925, no dudó en considerarla una excelente herramienta de exposición al debate de sus ideas, incluyendo en ella los proyectos y escritos realizados en pro de una arquitectura moderna. Abstract: The specialized publications in architecture facilitate the diffusion of ideas, methods and techniques of the particular period of its existence. Its contents, analyzed over time, make up an atlas of thought capable of framing the social interpretation of a spatial-temporal context under the prism of the constructive. Jean Badovici founded in 1923, together with the journalist Christian Zervos, the magazine L'Architecture Vivante (1923-1933), edited by Albert Morancé. The appearance on its pages of an architecture technically well- defined, accompanied by critiques written with critical rigor by its director, or for the authors of the works, they did of her a prestigious instrument of spread of the new ideas among the professional public. A contemporary revisiting of the texts and published projects, allows to detect the intellectual itinerary carried out by its persons in charge with regard to the convulsed and changeable European architectural environment in which they fixed its look. In this evolution manifested, in just the period of a decade, we must emphasize the prominence given to the work of Le Corbusier who, from the closure of L'Esprit Nouveau in 1925, did not hesitate in considering it as an excellent tool for exposure to the discussion of his ideas, including in it projects and writings made for a modern architecture. Palabras clave: Le Corbusier; L’Architecture Vivante; Jean Badovici; revistas; arquitectura. Keywords: Le Corbusier; L’Architecture Vivante; Jean Badovici; magazines, architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.929
Ronchamp in the spotlight. The feature of a shocking building in the 50s journals
Authors: Casas Cobo Francisco Javier 
Published: March 2016

Abstract: Although currently it is largely accepted that Chapelle Notre-Dame du Haut at Ronchamp is one of the milestones in Le Corbusier’s works, there is no less agreement in saying that it was one of the most controversial of his works and one turning point in modern architecture, not only in terms of digging a grave for functionalism but to opening a window to a wide bunch of architects and works that would have been excluded from history and maybe forever otherwise. In order to recall its importance, we must look back to how architectural journals featured Ronchamp in the mid fifties as, on one hand, Le Corbusier was not a young architect but a very well known and respected one with an international reputation and therefore, it was not easy to criticize his works and, on the other hand, Ronchamp was such a shocking building for many colleagues who had no choice but writing about it that somehow they were between the Devil and the deep blue sea. Keywords: Ronchamp; debate; journals; historiography, contemporary; criticism. DOI: http://dx.doi.org/10.4995/LC2015.2015.942
MONUMENTALIZING MODERN MOBILITY
Authors: Comas Carlos Eduardo 
Published: March 2016

Abstract: The inhabitable viaduct is one of the most intriguing design proposals of Le Corbusier. Scholarly attention has focused upon the curvilinear megastructures designed for Rio de Janeiro and Algiers and their connection to the Ville Radieuse, downplaying the introduction of the inhabitable viaduct in São Paulo, and its connection with earlier proposals for Montevideo and Buenos Aires, the Plan Voisin and Ville Contemporaine, when Le Corbusier himself suggested that all these designs make up a sequence. The inhabitable viaduct has been understood as a reaction to non-European landscape and the airplane view, standing for a new sense of the organic in Le Corbusier’s work. A closer inspection of these designs along with Le Corbusier’s pertinent texts and imagery suggests that his architecture from 1929 onwards changes in degree rather than nature. The genesis of the inhabitable viaduct is seen as part of a sequence of topological transformations, informed by specific but generalizable site conditions and a host of precedents, but also, and primarily, as an alternative in Le Corbusier's controversial quest for monumentalizing the modern metropolis. Resumen: El viaducto habitable es una de las propuestas más intrigantes de Le Corbusier. Los estudiosos han concentrado su atención en las mega-estructuras curvilíneas proyectadas para Río de Janeiro y Argelia y en sus conexiones con la Ville Radieuse, menospreciando la introducción del viaducto habitable en São Paulo, y su conexión con las propuestas anteriores para Montevideo y Buenos Aires, el Plan Voisin y Ville Contemporaine, cuando Le Corbusier mismo sugirió que todos eses proyectos forman una secuencia. El viaducto habitable ha sido entendido como una reacción al paisaje no-europeo y a la vista del avión, indicando un sentido nuevo de lo orgánico en la obra de Le Corbusier. Una inspección mas detenida de eses proyectos a la luz de textos e imágenes pertinentes del arquitecto sugiere que su arquitectura del 1929 en adelante sufre un cambio de énfasis y no de naturaleza. La génesis del viaducto habitable se ve aquí como parte de una secuencia de transformaciones topológica, que son informadas tanto por condiciones de situación a la vez específicas y susceptible de generalización cuanto por un conjunto de precedentes, pero también, y primariamente, como una alternativa en la búsqueda controvertida de Le Corbusier por monumentalizar la metrópolis moderna. Keywords: Inhabitable viaduct/ South America/ Algiers/ Monumentality/ Landscape/ Urbanism. Palabras clave: Viaducto habitable/ Suramerica/ Argelia/ Monumentalidad/ Paisaje/ Urbanismo. DOI: http://dx.doi.org/10.4995/LC2015.2015.949
Le Corbusier Roof-Spaces
Authors: Como Alessandra , Smeragliuolo Perrotta Luisa , Forni Isotta 
Published: March 2016

Abstract: From technical solution, the roof-garden became a key spatial theme within Le Corbusier’s work and creativity, evolving to become a fundamental component of his vision for the contemporary city. The roof garden is an open space in which to cultivate both the mind and body, and to experience a direct relationship with nature; through plants, the sky, and the sun, the urban and the natural world are combined together in the surroundings. This article follows the principal steps of Le Corbusier’s research, starting with his initial experimentation in his own apartment studio in rue Nungesser-et-Coli, through to the complex development at the Unité. It follows how the roof garden becomes an optical device toward the horizon and a strong evocative instrument. The relationship with the nature and the horizon are the key of readings of several selected design projects which demonstrate at the same time the continuity of the research and the richness of the variations on the theme itself. The roof garden is one of the most fertile topics of Le Corbusier’s legacy, evident in contemporary architectural developments. Resumen: A partir de una solución técnica, el roof-garden se convierte en el tema central del trabajo y de la poética de Le Corbusier, evolucionando para convertirse en un componente fundamental de su visión de la ciudad contemporánea. El roofgarden es un espacio abierto en el que el hombre puede cultivar la mente y el cuerpo, donde se puede experimentar una relación directa con la naturaleza -la vegetación, a través de las plantas, el cielo, el sol, el urbano -y el mundo natural se combinan juntos en los alrededores. Este texto sigue los pasos principales de la investigación de Le Corbusier , partiendo de las experimentaciones iniciales -en su apartamento-estudio en la rue Nungesser-et-Coli- hasta el complejo desarrollado en la Unité. El texto sigue como el roof garden se convierte en un dispositivo óptico hacia el horizonte y en un gran instrumento evocativo. La relación con la naturaleza y el horizonte son las claves de lectura de varios proyectos seleccionados que muestran a la vez la continuidad de la investigación y la riqueza de las variaciones sobre el tema. El roof garden es uno de los temas más vivos del legado de Le Corbusier, también de gran importancia hoy en la arquitectura contemporánea. Keywords: Roof-garden; Nature; View; Horizon; Landscape. Palabras clave: Roof-garden; Naturaleza; Vista; Horizonte; Paisaje. DOI: http://dx.doi.org/10.4995/LC2015.2015.960
FLC 4932. Lo inesperado en la obra de Le Corbusier. Consideraciones en torno al origen de la promenade
Authors: Miralles Jori Roger 
Published: March 2016

Resumen: Entender la evolución de la idea de la promenade en la crítica corbuseriana. Cómo la idea ha ido pasando de la idea del movimiento al pintoresquismo, a lo cinematográfico y finalmente a la idea de montaje. Leyendo Le Corbusier entender que lo mas relevante de la promenade es la idea de lo inesperado para el espectador. Entender de dónde viene esta idea de lo inesperado a través de la formación de Le Corbusier y, sobretodo, a partir de su formación en la crítica del S.XIX. Especialmente importante para entender la idea de lo inesperado es el libro de Mornings in Florence de Ruskin, en especial su descripción de la capilla de los españoles. Esta capilla también será objeto de estudio por Le Corbusier y, en ella, reconoce la importancia de lo inesperado en arquitectura. Abstract: The first objective of this paper is to understand the evolution of the idea of promenade in Le Corbusier’s critic. The paper follows how the idea has changed from the movement to the picturesque, to the cinematographic and finally to the idea of montage. The second objective is to understand that the idea of the unexpected for the spectator is key for the promenade. Then we try to understand where does the idea of the unexpected come in Le Corbusier’s formation with special interest in his formation in the nineteenth century critics. And how important to understand the idea of the unexpected is Ruskin’s Mornings in Florence, specially his description of the Spanish Chapel. This chapel will be case study for Le Corbusier and in his study he recognises the importance of the unexpected in architecture. Palabras clave: Promenade, Espacio inesperado, Formación de Le Corbusier, Viajes de Le Corbusier, Capilla de los españoles. Keywords: Promenade, Unexpected space, Le Corbusier formation, Le Corbusier Travels, Spanish Chapel. DOI: http://dx.doi.org/10.4995/LC2015.2015.976
Estrellas sobre fondos cambiantes: convocando la luz
Authors: Álvarez Gallego Isabel , Blanco Agüeira Silvia 
Published: March 2016

Resumen: Tras crear y desarrollar durante siete años diecinueve poemas manuscritos, que hoy en día son considerados síntesis de su pensamiento, Le Corbusier publicó en 1955 su Poème de l´Angle Droit. Al estudiar este poema reconocemos en él los principales temas presentes en su trayectoria, así como algunos elementos —la espada, la nube y la estrella— que aparecen en su obra pictórica y arquitectónica. La presente comunicación pretende desvelar las conexiones que se establecen entre uno de estos elementos en concreto, como es la imagen de la estrella, y su incorporación al proceso de proyecto lecorbusieriano. Se trata de analizar cómo este tema, que se repite de forma obsesiva, configura imágenes que permanecen en las estrategias arquitectónicas que llevó a cabo el maestro suizo. La estrella habla de faro, de guía, de motor dentro de un proceso de viaje. Es el elemento que representa la movilidad del cosmos, que rige ese carácter de repetición ligado al arte; una señal que guía al viajero y define el itinerario que deben seguir sus pasos, que nos hace pensar en una brillante luz y en la distancia entre lo real y lo imaginado. Y, sobre todo, es la referencia presente en edificios, que condensaban así reflexiones que daban coherencia y unidad a las distintas opciones del proyecto. Abstract: Following a seven year period dedicated to the creation and development of nineteen manuscript poems, which today are considered a synthesis of his thinking, in 1955 Le Corbusier published his Poème de l´Angle Droit. The study of this poem reveals the principal themes that dominated his trajectory, as well as a series of elements, namely the sword, the cloud and the star, which appear in his pictorial and architectural work. This paper aims to shed light on the connections established between one of these elements in particular —the star— and its incorporation into Lecorbuserian method of architectural design. It seeks to analyse how this item is repeated obsessively, forming images which remain rooted in the architectural strategies developed by the Swiss architect. The star speaks of a lighthouse, a guide, a driving force that spurs on the journey. It is the element that represents the mobility of the cosmos, which governs the nature of repetition linked to art; a signal that guides the traveler and traces the route their steps must take them, leading us to think of a bright light and the distance that separates the real and the imagined. And above all, it is the reference in those buildings that condensed the reflections that gave coherence and unity to the various project options. Palabras clave: estrella; cosmos; proyecto; mirada; símbolo; proceso creativo. Keywords: star; cosmos; project; gaze, symbol; creative process. DOI: http://dx.doi.org/10.4995/LC2015.2015.980
Crónica de un desencuentro: Le Corbusier en las Américas
Authors: Lapunzina Alejandro 
Published: March 2016

Resumen: La relación de Le Corbusier con el continente americano abarca virtualmente toda su vida activa. Plasmada en una veintena de viajes trasatlánticos y en un conjunto heterogéneo de propuestas, proyectos y obras, esta relación estuvo marcada por frecuentes malentendidos y desencuentros que condicionaron la concreción de algunos de sus proyectos. No obstante, el valor de su obra americana, representada por dos obras extraordinarias –la Casa Curutchet en Argentina y el Carpenter Center en Estados Unidos— y por una serie de proyectos notables que no llegaron a materializarse, merece un tratamiento específico. Este artículo está dedicado a presentar una síntesis de la relación y recíproco desencuentro entre Le Corbusier y el continente americano. Abstract: The relationship between Le Corbusier and the American continent virtually encompasses his entire professional life. Embodied by about twenty transatlantic trips and a series of heterogeneous projects and buildings, this relationship was marked by frequent misunderstandings that conditioned the materialization of some of his projects. However, the significance of Le Corbusier’s work for the Americas, represented by two extraordinary buildings –the Curutchet House in Argentina and the Carpenter Center in the United States— and by a series of noteworthy projects that remained unbuilt, deserves special consideration. This article is dedicated to present an outline of the relationship and reciprocal misunderstanding between Le Corbusier and the American continent. Palabras clave: Américas; Planes urbanos; Casa Curutchet; Carpenter Center; Viajes y Proyectos. Keywords: Americas; Urban Plans; Curutchet House; Carpenter Center; Travels and Projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.985
INFLUENCIAS PINTORESCAS DE LE CORBUSIER EN EL PABELLÓN BRASILEÑO DE OSAKA´70
Authors: Garcia-Gasco Lominchar Sergio 
Published: March 2016

Resumen: Iñaki Ábalos, en su libro “Atlas pintoresco” traza una línea de investigación sobre el Movimiento Moderno y su relación con la naturaleza y el paisaje. El autor establece un análisis en el que desenmascara los elementos pintorescos en la obra de Le Corbusier de manera que, aun apareciendo muchos de ellos en estado “latente” desde sus primeros postulados teóricos, paulatinamente y “casi de forma secreta” se irán adueñando de su modo de proyectar hasta conquistar todas las escalas de la arquitectura en su etapa final. Algunas de las características arquitectónicas de la llamada Escuela Paulista parecen ser a su vez influencia de la obra tardía de Le Corbusier. El pabellón de Paulo Mendes para la Exposición Universal de Osaka´70 nos sirve en este artículo para establecer un análisis de determinados aspectos pintorescos de Le Corbusier que subyacen en la arquitectura brasileña en general y de Paulo Mendes en particular. Abstract: Iñaki Abalos develop in “Atlas pintoresco” a research about Modern Movement and its relationship with nature and landscape. The author provides an analysis which unmask the picturesque elements in the work of Le Corbusier. These elements, even being "latent" in its earliest theoretical postulates, gradually and "almost secretly" will take over his way of projecting to conquer all scales of architecture in its final stage. Some of the architectural features of the so-called Paulista School seems to have influences of the later work of Le Corbusier. Paulo Mendes pavilion for the World Expo Osaka'70 can serve to establish an analysis of some of the picturesque aspects of Le Corbusier underlying brazilian architecture in general and Paulo Mendes in particular. Palabras clave: Pintoresco; Escola Paulista ; Le Corbusier; Paulo Mendes da Rocha; Naturaleza; Paisaje. Keywords: Picturesque; Paulista School; Le Corbusier; Paulo Mendes da Rocha; Nature; Landscape. DOI: http://dx.doi.org/10.4995/LC2015.2015.992
In situ measurements and modeling of reactive trace gases in a small biomass burning plume
Authors: Müller Markus , Anderson Bruce E. , Beyersdorf Andreas J. , Crawford James H. , Diskin Glenn S. , Eichler Philipp , Fried Alan , Keutsch Frank N. , Mikoviny Tomas , Thornhill Kenneth L. , Walega James G. , Weinheimer Andrew J. , Yang Melissa , Yokelson Robert J. , Wisthaler Armin 
Published: March 2016

Abstract. An instrumented NASA P-3B aircraft was used for airborne sampling of trace gases in a plume that had emanated from a small forest understory fire in Georgia, USA. The plume was sampled at its origin to derive emission factors and followed  ∼ 13.6 km downwind to observe chemical changes during the first hour of atmospheric aging. The P-3B payload included a proton-transfer-reaction time-of-flight mass spectrometer (PTR-ToF-MS), which measured non-methane organic gases (NMOGs) at unprecedented spatiotemporal resolution (10 m spatial/0.1 s temporal). Quantitative emission data are reported for CO2, CO, NO, NO2, HONO, NH3, and 16 NMOGs (formaldehyde, methanol, acetonitrile, propene, acetaldehyde, formic acid, acetone plus its isomer propanal, acetic acid plus its isomer glycolaldehyde, furan, isoprene plus isomeric pentadienes and cyclopentene, methyl vinyl ketone plus its isomers crotonaldehyde and methacrolein, methylglyoxal, hydroxy acetone plus its isomers methyl acetate and propionic acid, benzene, 2,3-butanedione, and 2-furfural) with molar emission ratios relative to CO larger than 1 ppbV ppmV−1. Formaldehyde, acetaldehyde, 2-furfural, and methanol dominated NMOG emissions. No NMOGs with more than 10 carbon atoms were observed at mixing ratios larger than 50 pptV ppmV−1 CO. Downwind plume chemistry was investigated using the observations and a 0-D photochemical box model simulation. The model was run on a nearly explicit chemical mechanism (MCM v3.3) and initialized with measured emission data. Ozone formation during the first hour of atmospheric aging was well captured by the model, with carbonyls (formaldehyde, acetaldehyde, 2,3-butanedione, methylglyoxal, 2-furfural) in addition to CO and CH4 being the main drivers of peroxy radical chemistry. The model also accurately reproduced the sequestration of NOx into peroxyacetyl nitrate (PAN) and the OH-initiated degradation of furan and 2-furfural at an average OH concentration of 7.45 ± 1.07 × 106 cm−3 in the plume. Formaldehyde, acetone/propanal, acetic acid/glycolaldehyde, and maleic acid/maleic anhydride (tentatively identified) were found to be the main NMOGs to increase during 1 h of atmospheric plume processing, with the model being unable to capture the observed increase. A mass balance analysis suggests that about 50 % of the aerosol mass formed in the downwind plume is organic in nature.
Phase relationships between orbital forcing and the composition of air trapped in Antarctic ice cores
Authors: Bazin Lucie , Landais Amaelle , Capron Emilie , Masson-Delmotte Valérie , Ritz Catherine , Picard Ghislain , Jouzel Jean , Dumont Marie , Leuenberger Markus , Prié Frédéric 
Published: March 2016

Abstract. Orbital tuning is central for ice core chronologies beyond annual layer counting, available back to 60 ka (i.e. thousands of years before 1950) for Greenland ice cores. While several complementary orbital tuning tools have recently been developed using δ18Oatm, δO2⁄N2 and air content with different orbital targets, quantifying their uncertainties remains a challenge. Indeed, the exact processes linking variations of these parameters, measured in the air trapped in ice, to their orbital targets are not yet fully understood. Here, we provide new series of δO2∕N2 and δ18Oatm data encompassing Marine Isotopic Stage (MIS) 5 (between 100 and 160 ka) and the oldest part (340–800 ka) of the East Antarctic EPICA Dome C (EDC) ice core. For the first time, the measurements over MIS 5 allow an inter-comparison of δO2∕N2 and δ18Oatm records from three East Antarctic ice core sites (EDC, Vostok and Dome F). This comparison highlights some site-specific δO2∕N2 variations. Such an observation, the evidence of a 100 ka periodicity in the δO2∕N2 signal and the difficulty to identify extrema and mid-slopes in δO2∕N2 increase the uncertainty associated with the use of δO2∕N2 as an orbital tuning tool, now calculated to be 3–4 ka. When combining records of δ18Oatm and δO2∕N2 from Vostok and EDC, we find a loss of orbital signature for these two parameters during periods of minimum eccentricity (∼ 400 ka, ∼ 720–800 ka). Our data set reveals a time-varying offset between δO2∕N2 and δ18Oatm records over the last 800 ka that we interpret as variations in the lagged response of δ18Oatm to precession. The largest offsets are identified during Terminations II, MIS 8 and MIS 16, corresponding to periods of destabilization of the Northern polar ice sheets. We therefore suggest that the occurrence of Heinrich–like events influences the response of δ18Oatm to precession.