bluuebunny/crossref_metadata_2025_split huggingface dataset:
La poética del urbanismo de Le Corbusier: arte y función en la ciudad moderna
Authors: Bregolin Emanoela Gehlen , Soler Machado Andrea 
Published: March 2016

Resumen: El objetivo de este artículo es demostrar que existe una poética en el urbanismo de Le Corbusier y que el tema se mantiene y se transforma en sus modelos teóricos y sus derivaciones. Desde el punto de vista teórico-metodológico, parte-se del presupuesto de que esa poética es el resultado de la dualidad entre arte y función presente en su pensamiento, originada en su formación personal y el momento histórico en el que produce su obra. El analisis se estructura con la agrupación de su produción urbanística en cuatro fases: 1-los años 1920: el Plan Ideal; 2-1929-38: las ciudades de América del sur y los viaductos; 3-1930-50: la Ville Radieuse; 4-Después de la Segunda Guerra Mundial: la ciudad de los 7V y la Unité d’habitation. La reflexión final retoma la visión general de su produción urbanística y la vincula al concepto de utopia. Abstract: The goal of this article is to demonstrate that there is an aspect of poetics in Le Corbusier’s urbanism and that this theme is maintained and you can see it being transformed through the theoretical models and its derivations. From the methodological and theoretical point of view, we make the assumption that the poetics is the result of the duality between art and function present in his thought, which comes from the historical moment in which his work was made and from his personal background. This analysis is structured by grouping his urban planning works in for phases; the 1920s: the Ideal City; 1929-38: the cities of South America and the viaduct; 1930-50: the Ville Radieuse; after the II World War: the city of 7V and the Unité d’habitation. The final considerations bring back the general vision of his urban planning works and tie it to the concept of utopia. Palabras clave: Le Corbusier; Urbanismo; Poética; Arte; Función. Keywords: Le Corbusier; Urbanism; Poetics; Art; Función. DOI: http://dx.doi.org/10.4995/LC2015.2015.1545
La mediterraneidad en la obra de Le Corbusier. La bóveda catalana lecorbuseriana: Influencias y evolución
Authors: López García Esmeralda 
Published: March 2016

Resumen: Le Corbusier durante gran parte de su vida busca volver la vista hacia las tradiciones mediterráneas. Con el fin de desvelar la arquitectura y el paisaje españoles, realiza un gran número de viajes en tren y coche a lo largo de su territorio y será durante su visita a Barcelona en 1928 cuando nace su interés por la técnica de la bóveda catalana. Es una época de su carrera en la que empieza a interesarse por métodos de construcción y materiales tradicionales. Para el arquitecto la bóveda catalana es un sistema con grandes posibilidades formales y una gran flexibilidad frente a su sencillez de medios. Le Corbusier muestra la influencia de sus viajes por el Mediterráneo, en especial de su viaje a Barcelona, y de su relación con varios arquitectos españoles en una gran cantidad de obras residenciales realizadas entre los años 20 y 50. Consiguió definir la expresividad del proyecto a través de la repetición de un único elemento arquitectónico, el sistema abovedado sobre una retícula, y de la utilización de diversos materiales como el ladrillo, vidrio y hormigón. Tras años de estudios de estos elementos el arquitecto adapta la bóveda catalana a las innovaciones estructurales del hormigón armado, demostrando una gran autonomía formal y temporal respecto al resto de sus proyectos y consiguiendo aunar tradición y modernidad en una única obra. Abstract: Throughout his life Le Corbusier was inspired by Mediterranean traditions. In order to discover Spanish architecture and landscape, he went on numerous of car and train trips throughout its territory. During his visit to Barcelona in 1928 he discovered the craftsmanship of thin-tile Catalan vaults. This was a period in his career in which he began to be interested in traditional building methods and materials. Le Corbusier looked at Catalan vaults as a very flexible formal system versus its simplicity of means. He showed the influence of his travels around the Mediterranean, particularly when he travelled to Barcelona and his relationship with many Spanish architects, in a large number of residential projects built between the 20s and the 50s. He managed to define the project expressivity through the repetition of an unique architectural element, the vault on a grid system, and the use of different materials such as brick, glass and concrete. After several years studying these elements he was able to adapt the Catalan vault system to innovative reinforced concrete structural solutions, showing a great formal and temporary autonomy compared to the rest of his projects while combining tradition and modernity in a unique work.Palabras clave: Mediterráneo; viajes; bóveda catalana; tradición; modernidad. Keywords: Mediterranean; trips; Catalan vault; tradition; modernity. DOI: http://dx.doi.org/10.4995/LC2015.2015.527
Dattiers Andinos y la Búsqueda Paciente en Rue de Sèvres, 1948-1959
Authors: Quintana Guerrero Ingrid 
Published: March 2016

Resumen: Con la Unidad de Habitación marsellesa, el Atelier Le Corbusier transformaba su personal y métodos. Recurrentemente, se ha denominado a ésta como la fase del Grand Atelier, en cuyo ocaso surgieron nuevos desafíos y elementos para un “espacio inefable”. De límites imprecisos, esa Búsqueda Paciente implicaba un estado de ánimo transicional que confrontaba a Le Corbusier con sus propios métodos y con algunos de sus colaboradores, a los que peyorativamente atribuyó el apodo de dattiers (datileras), debido a su presunta arrogancia y baja productividad. Este trabajo reconstruye los principales aspectos del paso de algunos colaboradores suramericanos de Le Corbusier por París entre 1948 y 1959. Su participación fue larga e intensa, alcanzando en ocasiones el estatus de coordinadores y abordando obras en todas las escalas. Aún cuando, entre ellos, sólo Augusto Tobito fue directamente calificado como dattier, sus colegas colombianos compartían algo de su rebeldía, autonomía o destreza; de ahí que les hagamos extensivo ese apelativo. Así pretendemos construir un relato que contrarreste las abundantes narrativas sobre proyectos e influencia del franco-suizo en territorio andino. Abstract: With Marseille Housing Unit, the Atelier Le Corbusier began a transformation of its staff and methods. Frequently, this phase is known as Le Grand Atelier, receiving new challenges during its ending, and conceiving new elements for an “ineffable space”. With undefined boundaries, the Patient Research involved a transitional frame of mind opposing Le Corbusier to his own proceedings and to some of his collaborators. Pejoratively, the master named them as dattiers (datepalms), due to their alleged arrogance and low productivity. This work reconstructs several aspects of the internship of some South American collaborators on Le Corbusier at Paris between 1948 and 1959. Their participation was extended and intense, allowing them to reach, in some cases, the status of coordinators, and engaging works in all the scales. Even though just Augusto Tobito was directly called as dattier, his Colombian coworkers shared his rebellion, autonomy or skills. That is why we also use that adjective for them. We intend to create a complementary story for plenty of narratives about projects and influences of the French-Swiss architect in the Andes territory.Palabras clave: Le Corbusier; arquitectos modernos suramericanos; planes urbanos; proyectos de habitación. Keywords: Le Corbusier; South American Modern architects; urban plans; housing project. DOI: http://dx.doi.org/10.4995/LC2015.2015.548
Criterios de combinación de colores para la arquitectura en Salubra I: estudio de tonos
Authors: Serra Juan , Llopis Jorge , Torres Ana , Giménez Manuel 
Published: March 2016

Resumen: Realizamos un nuevo estudio de las combinaciones de colores seleccionados por Le Corbusier en los ‘claviers’ para la empresa de papeles pintados Salubra en 1931, mediante su análisis en el espacio de color Natural Color System NCS, que permite comprender las variables perceptivas de los colores (tono, negrura y cromaticidad) y sus criterios de armonía. En este artículo discutimos las gamas tonales seleccionadas y aquellas que están ausentes., e intentamos desentrañar el orden subyacente en las combinaciones de colores mediante el estudio de las similitudes y contrastes de sus tonalidades en NCS. De manera gráfica, se demuestran algunos principios de armonía como el recurso habitual de contrastar tonos fríos con cálidos, algo que difiere ligeramente del tradicional contraste de complementariedad. El trabajo completo ha sido publicado en Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Abstract: We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria. In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some principles in Le Corbusier’s color preferences, such as the usual resource of contrasting cool with warm colors, something slightly different to the traditional contrast of complementary colors. The complete work has been published in Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Palabras clave: color, armonía; Le Corbusier; Salubra; arquitectura; Natural Color System. Keywords: color; harmony; Le Corbusier; Salubra; architecture; Natural Color System. DOI: http://dx.doi.org/10.4995/LC2015.2015.570
La forme du temps à Moscou
Authors: Ponce Gregorio Pedro 
Published: March 2016

Resumen: Sería el 2 de septiembre de 1931, mediante carta privada remitida por un tal B. Breslow en calidad de Representante Comercial de la URSS en Francia, cuando Le Corbusier recibe la invitación a participar en el concurso del que sería para muchos el edificio esencial del país, el Palacio de los Soviets de Moscú. Un edificio que en consecuencia, además de encarnar la voluntad de las masas trabajadoras rusas, debía convertirse de manera análoga, allí donde ya se hallaba construida la catedral de El Salvador, en el monumento artístico-arquitectónico de la todavía maltrecha capital soviética. Este y no otro es el punto en el que la presente «forma del tiempo» se inscribe: en el continuo devenir que el proyecto desarrolla dentro del número 35 de la rue de Sèvres de París, a fin de desempolvar parte de aquel rastro creativo velado por la historia, esto es, desandar la línea de los Soviets. Abstract: It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets. Palabras clave: Tiempo; composición; simbología; circulación; técnica; Palacio de los Soviets. Keywords: Time; composition; symbology; circulation; technique; Palace of the Soviets. DOI: http://dx.doi.org/10.4995/LC2015.2015.582
“Who is Le Corbusier?” According to Turkish Architecture
Authors: Ozorhon Ilker Fatih , Ozorhon Guliz 
Published: March 2016

Abstract: This study is to focus on the relationship between Le Corbusier and Turkish Architecture and the main question of the study is what Le Corbusier means for Turkish architecture. The method chosen in the research is to seek out answer this question over two main axes (architectural education and architectural practice). Besides a general overview in the section where Le Corbusier is examined within Turkey’s architectural education, it was consulted to student opinions and it was mentioned about the topics of master’s and doctorate theses conducted as directly related to Le Corbusier. Within Turkey’s architectural practice, the projects performed by being inspired of him in Turkey were included and these projects were examined in relation with Le Corbusier’s five main principles. The projects examined show that Le Corbusier has become an important guiding spirit in modern Turkish architecture and additionally, the architectural products arising as a conclusion of inspirations are qualified products verifying Turkey’s architectural medium. Besides, there is a sub-section titled as Le Corbusier’s experiences in Turkey in this section. In this section, by showing reference to Le Corbusier’s travels in Turkey and the things engrossed as a result of his travels (with drawings and writings), it is emphasized that the relationship between Le Corbusier and Turkish architecture can be interpreted as a two-way interaction. Keywords: Le Corbusier, Turkey, Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.594
Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’
Authors: Frances Dias Sarah , João Durão Maria 
Published: March 2016

Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612
La casa y el recinto. Un proceso abierto a través del proyecto para la Residencia Peyrissac en una explotación agrícola en Argelia
Authors: Sanz Alarcón Juan Pedro , Martínez Arroyo Carmen , Pemjean Muñoz Rodrigo 
Published: March 2016

Resumen: El objeto de estudio de esta investigación es el proyecto residencial no construido que realiza Le Corbusier en 1942 para una explotación agrícola cerca de Cherchell, Argelia. A partir del conjunto de dibujos que constituye la documentación gráfica existente sobre esta propuesta, el estudio aquí desarrollado basa su interés en describir el proyecto como proceso abierto de reflexión arquitectónica sobre la idea de la casa dentro de un recinto acotado. Se realiza un análisis pormenorizado de los distintos mecanismos y temas de proyecto empleados por el arquitecto mediante el desarrollo de nuevos planos interpretativos de la documentación original. De este modo se encuentran tanto los invariantes como las distintas versiones que construyen el desarrollo de la propuesta. Finalmente se concluye mediante una síntesis crítica en la que se relacionan los ámbitos arquitectónicos estudiados con soluciones análogas dentro tanto dentro del conjunto de la obra de Le Corbusier como con ejemplos paradigmáticos del panorama arquitectónico. Abstract: The object of study of this research is the not built residential project designed by Le Corbusier in 1942 for a farm near Cherchell, Algeria. From the drawings that constitute the existing graphic documentation of this proposal, this study based its interest in describing the project as an open process of architectural reflection on the idea of the house within a bounded enclosure. A detailed analysis of the different mechanisms and project themes used by the architect through the developing of new interpretive drawings of the original documentation. In this way the invariants and different versions that built the development of the proposal are present. Finally we conclude with a critical synthesis where we relate the architectural areas studied with similar solutions from Le Corbusier works and paradigmatic examples of the architectural scene. Palabras clave: Le Corbusier; Argelia; Peyrissac; casa; recinto; patio. Keywords: Le Corbusier; Argelia; Peyrissac; house; enclosure; court. DOI: http://dx.doi.org/10.4995/LC2015.2015.628
Construcciones ambientales para el hábitat moderno: Le Corbusier y André Missenard (1937-57)
Authors: Requena Ruíz Ignacio , Siret Soleil Daniel 
Published: March 2016

Resumen: Desde final de los años 30, la formulación de una nueva sensibilidad cultural, tecnológica y política hacia el clima, entendido en un sentido amplio, replanteó la relación entre el cuerpo humano y su entorno. El presente artículo confronta la obra de Le Corbusier ante dicha hipótesis de evolución del paradigma higienista previo. A partir de una investigación original en los archivos de la Fondation Le Corbusier, el objeto principal es el estudio de los intercambios teóricos y los aportes técnicos entre el arquitecto y André Missenard. El ingeniero, referente en el entorno científico, industrial y político de la época, resulta una pieza clave para entender la relevancia de la dimensión ambiental del hábitat propugnado por Le Corbusier durante los años 50. En particular, este trabajo aborda tanto los métodos de ideación (Grille Climatique) como su materialización espacial, técnica y sensorial (Unités d’habitation y Maison du Brésil). Las conclusiones del artículo muestran la evolución de los postulados habitacionales de Le Corbusier, que partiendo de la “Ville Radieuse”, acabó por integrar las ideas de la “Science des climats artificiels” en el proyecto arquitectónico, buscando “Rétablir les conditions nature” en el hábitat moderno. Abstract: Since the late-1930s, the emergence of a renewed cultural, technological and political approach towards the notion of climate reformulated the relationship between bodies and their milieux. This article analyses the works of Le Corbusier through the lens of this hypothesis of the hygienist paradigm’s evolution. Based on an original research at the archives of the Fondation Le Corbusier, this paper focuses on the theoretical discussions and the technical collaboration of the architect with André Missenard. This engineer, a key figure in the scientific, industrial and political environment of his time, played a main role to understand the relevance of the ambient dimension in Le Corbusier’s housing proposals in the 1950s. In particular, this paper deals with the design methods (Grille Climatique), as well as their spatial, technical and sensory materialization (Unités d'habitation and Maison du Brésil). The conclusions of the article show the evolution of Le Corbusier’s postulates, which beginning from his early proposal for the “Ville Radieuse”, managed to integrate the contributions of the “Science des climats artificiels” in architectural design looking for “Rétablir les conditions nature” in modern housing. Palabras clave: André Missenard; climas artificiales; control ambiental; Le Corbusier. Keywords: André Missenard; artificial climates; thermal ambiances; Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.659
Learning from Le Corbusier
Authors: Duport Laurent J 
Published: March 2016

Résumé: Interrogé sur l’enseignement de l’architecture, et bien qu’il ait exposé ses idées sur le sujet principalement dans deux de ses livres : « Précisions » (1930) et « Sur les quatre routes » (1941) Le Corbusier répond : « Je n’ai jamais reçu d’enseignement proprement dit. Je suis autodidacte même dans le sport. ». La formidable puissance didactique de Le Corbusier réside en cinq points : sa formation, son positionnement théorique, son invention de typologies, sa diffusion de l’architecture, sa production prolifique. Ainsi, bien au-delà de l’Œuvre Complète Le Corbusier offre à qui veut s’en servir un champ pédagogique particulièrement riche à découvrir et à partager. Aucun programme ne lui a échappé que ce soit les villas ou maisons, le logement collectif, les bureaux, les équipements (publics ou privés), les bâtiments institutionnels, les musées, les usines : tout est matière à invention. Cette invention s’accompagne de sa diffusion de l’architecture, de ses idées, à travers publications et conférences à travers le monde. Mais cela n’est rien comparé à sa production aux échelles variées de l’habitat minimum jusqu’à l’édifice monumental. C’est pourquoi avec le regard porté sur le projet des Quartiers Modernes Frugès construits à Pessac en 1926 nous examinerons comment ce « laboratoire » constitue une expérience pédagogique qui a valeur d’exemplarité et toujours d’actualité. Abstract: Asked about the architectural education and although he outlined his ideas on the subject mainly in two of his books: "Précisions" (1930) and "Sur les quatre routes" (1941), Le Corbusier replied: "I have never received proper education. I am self-taught even in sport. ". The amazing power of Le Corbusier’s didactic resides in five points: his training, his theoretical positioning, his invention of typologies, his diffusion of architecture, his prolific production. Thus, beyond his “Oeuvres Complètes” Le Corbusier offers to whom wants to use it, a rich educational field to discover and share. No program has eluded him whether it is villas or houses, collective housing, offices, facilities (public or private), institutional buildings, museums, factories : everything is material for invention. This invention is accompanied with his diffusion of architecture, of his ideas in books or lectures all over the world. But this is nothing compare to his production to various scales from the minimum housing to the monumental building. Therefore with the close look on the Modern Quarters Frugès project built in Pessac in 1926 we will examine how this "laboratory" is an educational experience that has of exemplarity value and is still relevant today. Mots-clés: Enseignement, Habitat, Patrimoine XXe, polychromie, Restauration. Keywords: Education, Housing, Heritage XXe, Polychromie, Restoration. DOI: http://dx.doi.org/10.4995/LC2015.2015.660