bluuebunny/crossref_metadata_2025_split huggingface dataset:
Visions “humaines” ou “infernales”: les moyens de transport et la perception de la ville chez Le Corbusier
Authors: Talenti Simona 
Published: March 2016

Résumé: Les représentations des villes depuis la mer ont eu, à partir du XVe siècle, un grand succès dans l’iconographie urbaine des voyageurs. Depuis 1911, Le Corbusier a pris l’habitude d’esquisser dans ses carnets de croquis les paysages urbains découverts au cours de son voyage en Orient. Villes, remparts ou monuments significatifs sont souvent représentés depuis la mer ou les fleuves, car l'arrivée en bateau autorise une perception progressive et globale du site. Suite à son séjour en Amérique du sud en 1929, l'architecte exprime ouvertement son appréciation pour la perspective obtenue depuis le bateau au milieu des baies, car ce point de vue lui permet de contextualiser immédiatement ses propositions d’aménagement urbain. De simple connaissance des villes, cette pratique iconographique devient, chez Le Corbusier, un instrument d’élaboration du projet. Mais la vue horizontale est bientôt accompagnée du procédé de survol des centres urbains pour appréhender la grandeur du paysage naturel et construit. À travers l’analyse des nombreuses images – dessins, croquis, photos – élaborées par Le Corbusier à partir des différents moyens de transport, ainsi que des commentaires accompagnant ces documents iconographiques et de quelques textes publiés, on essayera de mieux comprendre le rapport entre l’échelle de ces visions panoramiques et la nouvelle approche territoriale mise au point par Le Corbusier à partir des années Trente. Abstract: The representations of cities viewed from the sea have had, since the fifteenth century, a great success in urban iconography. From 1911, Le Corbusier began drawing urban landscapes in his sketchbooks, which he discovered during his trip to the Orient. Cities, fortifications or significant monuments are often depicted from the sea or rivers, because the arrival by boat allows a gradual and overall perception of the site. After his stay in South America in 1929, the architect openly expressed his appreciation for the panoramic view obtained from the boat in the middle of the bay. This point of view allows him to contextualize his urban development proposals immediately. This iconographic practice is no longer a simple function of knowledge, but it has become an instrument for realising the project. However, the horizontal view was soon accompanied by the process of flying over urban centres to understand the magnitude of the man-made and natural landscape. Through the analysis of the many images – drawings, sketches, photos – developed by Le Corbusier using different means of transport, of comments accompanying these iconographic documents and of some published texts, the paper aims to better understand the relationship between the scale of these panoramic visions and the new territorial approach developed by Le Corbusier from the Thirties onwards. Mots clés: moyens de transport; avion; bateau. Keywords: means of transport; airplane; boat DOI: http://dx.doi.org/10.4995/LC2015.2015.821
Le Corbusier’s Postwar Painterly Mythologies
Authors: Hendricks Genevieve 
Published: March 2016

Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo
Authors: Martínez Medina Andrés 
Published: March 2016

Resumen: Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario…) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas. Abstract: A tour through the production of Le Corbusier shows the insistent presence of the square as a basis of compositions in various fields (urban planning, architecture, painting, furniture...) and in different formats (in floor, elevation and profile, or as a theme, module and grid). This communication makes a formal analysis (graphic and symbolic) of its projects and works tracing the different ways to use the square that remains as a recurring constant. We can do it through four thematic areas descending in scale and dimensions: 1) capitols, 2) museums, 3) pavilions and 4) houses, studying a series of examples in each area based on the drawings of the Foundation Le Corbusier, generating speeches that reconstruct a thread of the time in the evolution of the compositional process. In correspondence with the four themes of study, we can discovery the employment of the square as different instruments. First: the square as the perimeter of the public space where to insert the representative architectures. Second: as a frame or safety deposit box where to enclose treasures artistic (or Holy). Third: as a cubic volume open and detachable. Fourth: as box defined by the grid of the structure. The square is always a means and not an end. In addition, there is an attempt to suggest some of the origins in his classic formation, his travels and his paintings. Palabras clave: Le Corbusier, composición, cuadrícula, cuadrado, cuadro, cubo. Keywords: Le Corbusier, composition, reticle, square, frame, cube. DOI: http://dx.doi.org/10.4995/LC2015.2015.837
Le Corbusier’s Proposal for the Capital of Ethiopia: Fascism and Coercive Design of Imperial Identities
Authors: Dainese Elisa 
Published: March 2016

Abstract: In 1936, immediately after the Italian conquest of the Ethiopian territories, the Fascist government initiated a competition to prepare the plan of Addis Ababa. Shortly, the new capital of the Italian empire in East Africa became the center of the Fascist debate on colonial planning and the core of the architectural discussion on the design for the control of African people. Taking into consideration the proposal for Addis Ababa designed by Le Corbusier, this paper reveals his perception of Europe’s role of supremacy in the colonial history of the 1930s. Le Corbusier admired the achievements of European colonialism in North Africa, especially the work of Prost and Lyautey, and appreciated the results of French domination in the continent. As architect and planner, he shared the Eurocentric assumption that considered overseas colonies as natural extension of European countries, and believed that the separation of indigenous and European quarters led to a more efficient control of the colonial city. In Addis Ababa he worked within the limit of the Italian colonial framework and, in the urgencies of the construction of the Fascist colonial empire, he participated in the coercive construction of imperial identities. Keywords: Le Corbusier; Addis Ababa; colonial city; Fascist architecture; racial separation; Eurocentrism. DOI: http://dx.doi.org/10.4995/LC2015.2015.838
Experimenting with prototypes: architectural research in Sweden after Le Corbusier’s projects
Authors: Campo-Ruiz Ingrid 
Published: March 2016

Abstract: Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequent developments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developed in Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. This research analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and how they also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedish architects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the Stuttgart Weissenhofsiedlung impressed influential Swedish architect, including Uno Åhrén, Gunnar Asplund and Sven Markelius, who later became proponents of modernism in Sweden. The 1930 Stockholm Exhibition marked a breakthrough for functionalism in Sweden. After 1930, urban plans for Stockholm and its suburbs reflected some of Le Corbusier’s ideas, such as the urban plan by Sven Markelius, and Vällingby’s town centre by Leif Reinius and Sven Backström. After 1950, Léonie Geisendorf , Ralph Erskine, Sigurd Lewerentz and Peter Celsing placed considerable emphasis on rough texture in poured concrete. Lewerentz, who admired the works of Le Corbusier, designed the churches of Markuskyrkan in 1956 and St Peter’s in Klippan in 1966, with a wider international impact. Reyner Banham included several works by Le Corbusier and also Markuskyrkan Church by Lewerentz in his book The New Brutalism: Ethic or Aesthetic? in 1966. Keywords: Sweden, twentieth-century architecture, urban planning, prototype, architectural experiment, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.893
THE INEVITABLE ORDER: Revisiting the Calibrated Biomimetics of Le Corbusier’s Modulor
Authors: Itham Mahajan Rajini 
Published: March 2016

Abstract: Biomimetics is a philosophy in Architecture that addresses issues not through mimicry but by understanding the rules governing natural forms. Biomimetics has gained popularity in the past few decades but it would be more apposite to state that this philosophy may have had its origins many years previously in the conceptualization of the Modulor, as Le Corbusier strived to unite Mathematics, Physiology &amp; Design. Common knowledge shows that disturbed by application of generic Imperial and Standard systems of measurements, the Modulor was ideated to help perceive the built environment as a physical extension of the human body. Le Corbusier’s attempt to develop a harmonious scale towards the measurement of the absolute has been criticized for adopting industrial efficiency; though alienating human emotion was farthest from Corbusier’s thought. What then is the architectural paradox in comprehending The Modulor as the universal proportioning system- racial differences in anthropometry, mechanizing architectural built forms within and without or simply an apprehension of losing mannerisms in architecture? Trying to unravel the mysteries of nature through analytics of the numbering system, Corbusier was consumed by the all-pervasive need to find answers to eternal questions in scientific spirituality. This paper explores the inevitable order of Le Corbusier’s universe, revisiting the conceptualization of the Modulor, its relevance to architectural philosophies in general and Biomimetics in particular and the universal application of the same as a governing factor in Design methodologies. Keywords: Le Corbusier, Biomimetic, Modulor, Universal Application, Design. DOI: http://dx.doi.org/10.4995/LC2015.2015.895
Le Corbusier et la Belgique / Son Héritage
Authors: Dubois Marc 
Published: March 2016

Résumé: À la suite de l’exposition de Paris 1925, le peintre René Guiette demande à LC de lui construire une maison avec atelier à Anvers. Ce bâtiment superbe existe encore, le seul témoignage de LC construit en Belgique! LC vient pour la première fois à Bruxelles en 1926 pour donner une conférence. Après une deuxième conférence en 1928 il reçoit une commande de Jean Canneel-Claes pour une maison, publiée par Le Corbusier en 1929 comme « Maison pour M. X à Bruxelles ». En 1930, il est présent à Bruxelles pour le congres CIAM. En 1933, LC participe au concours pour la Rive Gauche d’Anvers. En 1938 on lui demande de participer à l’ exposition de Liège en 1939, mais rien n’est construit. LC est présent à l’exposition Universelle de Bruxelles 1958 avec le pavillon exceptionnel pour Philips. Après l’expo, Le Poème Electronique est démoli. Keywords: LC 5xBelgique, Stynen &amp; De Meyer, deSingel, Riverside Tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.896
The mur neutralisant as an active thermal system: Saint Gobain tests (1931) versus CFD simulation (2015)
Authors: Ramírez-Balas C. , Sendra J.J. , Suárez R. , Fernández-Nieto E.D. , Narbona-Reina G. 
Published: March 2016

Abstract: At the same time as the initial development of air conditioning systems for indoor climate control in buildings were occurring in USA, Le Corbusier and Lyon made truly innovative proposals for different projects he was working on in Europe. These served to generate homogenous thermal environments and focused on the combined effect of his mur neutralisant and respiration exacte. The clearest example of their shortcomings is the City of Refuge in Paris (1930-33). Given the technological and economic mistrust towards these proposals, as it was impossible to execute these according to the original plan these were not pursued. CFD simulations carried out by our research team confirm that the mur neutralisant and respiration exacte for the City of Refuge in Paris would have functioned together if they had been executed following the original plans. The main aim of this paper is to confirm the validity of the mur neutralisant as an active thermal system for buildings. Firstly, the results of the tests carried out by the engineers of Saint Gobain are compared to the results of the CFD simulations. Based on the comparison of the results from the physical models tested in Saint Gobain laboratories and CFD energy model simulations, a possible calibration is proposed for CFD which might prompt the establishment of other operation hypotheses. Keywords: Le Corbusier; mur neutralisant; The City of Refuge; Active Façade System; Computational Fluid Dynamics (CFD); Numerical Simulation. DOI: http://dx.doi.org/10.4995/LC2015.2015.899
Le Corbusier and The Americas: Affinities, Appropriations and Anthropophagy
Authors: Ortiz dos Santos Daniela 
Published: March 2016

Abstract: The paper draws attention to Le Corbusier's first trip to the American continent, with a particular focus on his visions and expectations built before the corporeal dislocation to the New World in September 1929. This approach suggests not only an investigation of one single voyage, but of multiple ones, and above all intellectual ones. Voyages that cross biographies, discourses and practices – in a public and intimate scale – which are attentive to a history embodied in its social actors allowing a confrontation of materials that transcends the so called architectural field. It examines one critical moment of ruptures in Le Corbusier's production (1925-1930), and works across the architectural discussions at that time, placing Le Corbusier in a wider web of reciprocal influences and circulation of ideas in order to help to construct a sense of the fragmented, or even silenced, discourses within the artistic and architectural debates in the late twenties. Such an approach not only allows new interpretations but also the establishment of a new periodization on Le Corbusier's knowledge of- and interests in- the Americas, as well as the narratives produced. Resumen: El artículo llama la atención sobre el primer viaje de Le Corbusier al continente americano, con un foco particular en las visiones del arquitecto y sus expectativas construidas antes del ‘desplazamiento corpóreo’ al nuevo mundo en septiembre de 1929. Desde esta perspectiva, proponemos investigar no sólo un viaje, sino múltiples viajes, y sobre todo los ‘viajes mentales’. En otras palabras, examinamos viajes que cruzan biografías, discursos y prácticas, en una escala privada y también pública. Atentos a una historia encarnada en los actores sociales, nos permitimos una confrontación de documentos que extienden el campo de la arquitectura. Analizamos así un momento crítico y de rupturas en la producción de Le Corbusier (1925-1930), situándolo en una amplia red de sociabilidad y debates en los últimos años de la década de 1920, cuyas influencias, afinidades y circulación de ideas se entrelazan. Al trabajar con este abordaje, posibilitamos nuevas interpretaciones y también el establecimiento de una nueva periodización de Le Corbusier y su relación con las Américas. Keywords: Le Corbusier; Travel; The Americas; Brazil; Blaise Cendrars; Lucien Romier. Palabras clave: Le Corbusier; Viaje; Las Américas; Brasil; Blaise Cendrars; Lucien Romier. DOI: http://dx.doi.org/10.4995/LC2015.2015.918
Le Corbusier’s Secret Geometry: Speculations on Regulating Lines Hidden in Ronchamp
Authors: Wood Peter 
Published: March 2016

Abstract: Despite the prominence of Ronchamp in the work of Le Corbusier we remain largely ignorant of the geometric approach the architect applied to determine the specific relationship of the building’s plan to its liturgical responsibilities. It is assumed that the Modulor was the principle proportional system used to determine the chapels plan. In this paper it is contented that the Modulor played a minor role in finding the principle geometric relationships, at least in plan. With reference to two formal explorations, the research presents two findings. Firstly, that in exploring primary relationships Le Corbusier was more likely to have made geometric reference to attributes of the extant site. A second part of this argument goes on to show that once the plan of Ronchamp was established it was used to provide geometric coordinates for other parts of the site development. Resumen: A pesar de la prominencia de Ronchamp, en la obra de Le Corbusier que permanecen gran parte ignorante del enfoque geométrico el arquitecto aplicó para determinar la relación específica del plan del edificio para sus responsabilidades litúrgicas. Se supone que el Modulor fue el sistema proporcional principio utilizado para determinar el plan capillas. En este trabajo se está contento de que el Modulor jugó un papel de menor importancia en la búsqueda de las relaciones geométricas principales, por lo menos en el plan. Con referencia a las dos exploraciones formales, la investigación presenta dos conclusiones. En primer lugar, que en la exploración de las relaciones primarias Le Corbusier era más probable que hayan hecho referencia geométrica a los atributos del sitio existente. Una segunda parte de este argumento pasa a mostrar que una vez que se estableció el plan de Ronchamp se utiliza para proporcionar coordenadas geométricas de otras partes del desarrollo del sitio Keywords: Ronchamp; geometry; proportion. Palabras clave: Ronchamp; la geometría; proporción. DOI: http://dx.doi.org/10.4995/LC2015.2015.926
Memory and change through Le Corbusier. Fragments of urban views
Authors: Gorgeri Fabiola 
Published: March 2016

Abstract: In the urban project of Le Corbusier the relationship between new and existing is opportunity of poetic composition. The real traces of the past of one place are transformative tools by which the new project is developed. The projects after World War II, like reconstruction project of Saint-Dié, are occasions to reflect about the new urban developments, rapid and extensive, and the relation of them with the landscape in a new territorial vision. The fragments of past and the new buildings are seen like belonging to a same context of reference and the entire urban composition forming part of a landscape on more large scale. Therefore, the urban project is an ensemble of architectural objects and nature that are held together by calculated visual relation. It is a kind of montage of urban views related to the dimension and measure of the human subject, like visual points or pedestrian paths. Memory and change are linked together by the natural history process and commensurate also to the human measure by a three dimension urbanism where the architecture can anew make the city. Resumen: En el proyecto urbanístico de Le Corbusier la relación entre la nueva y la existente es la oportunidad de la composición poética. Las huellas reales del pasado de un lugar son herramientas de transformación por el que se desarrolla el nuevo proyecto. Los proyectos después de la Segunda Guerra Mundial, como el proyecto de reconstrucción de Saint-Dié, son ocasiones para reflexionar acerca de los nuevos desarrollos urbanos, rápidas y amplias, y la relación de ellos con el paisaje en una nueva visión territorial. Los fragmentos del pasado y los nuevos edificios son vistos como pertenecientes a un mismo contexto de referencia y toda la composición que forma parte urbana de un paisaje de más gran escala. Por lo tanto, el proyecto urbano es un conjunto de objetos arquitectónicos y la naturaleza que se mantienen unidas por la relación visual calculada. Es una especie de montaje de vistas urbanas relacionadas con la dimensión y la medida del ser humano, al igual que los puntos visuales o caminos peatonales. La memoria y el cambio están unidos entre sí por el proceso de la historia natural y acorde también a la medida humana por un tres dimensiones urbanismo donde la arquitectura de nuevo puede hacer de la ciudad. Keywords: urban project; landscape; memory; Saint-Dié. Palabras clave: proyecto urbano; paisaje; memoria; Saint-Dié. DOI: http://dx.doi.org/10.4995/LC2015.2015.927