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Journal articles on the topic 'Architecture ; Le Corbusier'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Bing, Judith. "Le Corbusier and the Romanian Cula." Journal of the Society of Architectural Historians 76, no. 2 (2017): 146–53. http://dx.doi.org/10.1525/jsah.2017.76.2.146.

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While Le Corbusier's famous “journey to the east” has been the subject of numerous investigations as an important chapter in the great modernist's formative years, his days in Romania while en route to Constantinople are thinly covered. Le Corbusier and the Romanian Cula helps to fill that gap by focusing on one important detail: discovery of the identity and location of a much-discussed building he sketched while there and its importance for both traditional Romanian architecture and Le Corbusier's emerging vision of modernity. Judith Bing's discussion of her long search and unexpected discov

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2

Ghosh, Nabaparna. "MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH." Journal of Architecture and Urbanism 40, no. 3 (2016): 220–28. http://dx.doi.org/10.3846/20297955.2016.1210048.

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Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic ic

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3

Bacon, Mardges. "Le Corbusier and Postwar America." Journal of the Society of Architectural Historians 74, no. 1 (2015): 13–40. http://dx.doi.org/10.1525/jsah.2015.74.1.13.

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In 1946 Le Corbusier returned to the United States in conjunction with a French mission to study American architecture, public works, and planning. He traveled with Eugène Claudius-Petit, who would become minister of reconstruction in France. Their principal objective was to visit the Tennessee Valley Authority, considered a model for postwar reconstruction. In Le Corbusier and Postwar America: The TVA and Béton Brut, Mardges Bacon argues that the TVA’s regional planning and societal synthesis served as a model for Le Corbusier’s second-machine-age civilization. The TVA’s reinforced concrete d

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Cattaneo, Daniela Alejandra, and Jimena Paula Cutruneo. "“THE OUTSIDE IS ALWAYS AN INSIDE”: THE IDEA OF SPACE AND ITS THEORETICAL HERITAGE IN “TOWARD AN ARCHITECTURE”." Journal of Architecture and Urbanism 40, no. 3 (2016): 250–58. http://dx.doi.org/10.3846/20297955.2016.1210049.

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The article proposes to delve deeper in the idea of space in Le Corbusier’s Toward an Architecture (1923), focalizing in its connections with the past and urban design. When in his book Le Corbusier presents his “trois rappels a messieurs les architectes” – volume, surface and plan (in its broad sense) – he outlines the keys to his idea of space. It proves imperative to use Le Corbusier’s original term “Rappel” as its word play transcends any possible translation. Space is therefore defined as a Rappel (call) to architects, but also as a Rappel (reminder, evocation) to multiple theorizations a

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5

García González, Andrea. "Le Corbusier. La dualidad "architecure mâle" y "architecture femelle"." VLC arquitectura. Research Journal 3, no. 2 (2016): 119. http://dx.doi.org/10.4995/vlc.2016.5259.

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<p><em>In the 50´s, Le Corbusier publishes two books, Le Modulor (1950) and Le Poème de l´Angle Droit (1955). They are extremely important given that they represent the synthesis of his architectural thought at the height of his career. In both, references can be observed to the duality of male-female, which do not seem to have been previously part of the architect´s consistent theoretical body. One decade later, duality imbues the architectural critics, who interpret it as the opposition between two residential projects from early 1920´s, the Maisons Monol and the Maisons Citrohan

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Lesko, Thomas M. "Teaching a thorough, repeatable design process for ambiances in architecture." SHS Web of Conferences 64 (2019): 02006. http://dx.doi.org/10.1051/shsconf/20196402006.

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Le Corbusier, it has been said, defined architecture as "the poetry of construction" and as such, the term "ambiances" is reminiscent of those great words. In order to create that special quality, that poetry, that ambiance in architecture, a design concept that is the result of a thorough, repeatable design process must be employed. The purpose of this paper/presentation is to explain the design thinking/design tools we need to teach our students, i.e. the future Le Corbusiers of the world, how to create those special qualities that make ambiances/poetry in architecture possible.

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Pearson, Christopher. "Le Corbusier and the Acoustical Trope: An Investigation of Its Origins." Journal of the Society of Architectural Historians 56, no. 2 (1997): 168–83. http://dx.doi.org/10.2307/991282.

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Le Corbusier's later theory and production were largely informed by two important considerations: his idea of "ineffable space" (l'espace indicible), and his singular conception of "acoustics," which he apparently used as a troping or analogical tool in his design method. Le Corbusier was to describe the chapel at Ronchamp (1950-1954), for example, as a building that employed an "acoustic component in the domain of form," and suggested that the project began by taking into account "the acoustic of the landscape." The sources of this cryptic appeal to "acoustics" can be identified with some pre

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8

Samuel, Flora. "Le Corbusier and the Art of Architecture." Architectural Research Quarterly 13, no. 1 (2009): 16–19. http://dx.doi.org/10.1017/s1359135509990066.

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Le Corbusier – The Art of Architecture is the vague and loaded title given to a marvellous but somewhat random collection of Le Corbusier material that has been touring Europe, until recently housed in Lutyens' crypt in Liverpool Cathedral before landing in London this spring at the Barbican, where it feels at home in Brutalist surroundings. The exhibition has provided the inspiration for a festival of Le Corbusier events and talks, competitions and workshops across the country. The question, however, is why?

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9

Burriel Bielza, Luis. "Architecture with and without Le Corbusier. José Oubrerie Architecte." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 3 (July 8, 2015): 77. http://dx.doi.org/10.17979/bac.2013.3.0.1001.

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10

Abadžić Hodžić, Aida, and Antonija Mlikota. "Selman Selmanagić – „balkanski Le Corbusier“." Ars Adriatica, no. 4 (January 1, 2014): 385. http://dx.doi.org/10.15291/ars.510.

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Croatian scholarship is poorly acquainted with the life of the well-known Berlin architect, designer and professor, Selman Selmanagić. The enviable and lengthy career of this successful Bosniak and his exciting and dynamic life, intersecting with different cultures, certainly warrants attention, especially considering the contemporary research into the legacy of the Bauhaus tradition and the modes of its reception in Eastern Europe. Selman Selmanagić was the only Yugoslav who did his entire degree in architecture at Bauhaus. For twenty years he led the Department of Architecture at the Kunstho

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11

Rowley, Ellen. "Le Corbusier: The Art of Architecture." Journal of Architectural Education 63, no. 1 (2009): 147–49. http://dx.doi.org/10.1111/j.1531-314x.2009.01041.x.

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12

Torres Cueco, J. "Le Corbusier, nature, homme et architecture." LC. Revue de recherches sur Le Corbusier 1, no. 1 (2020): 69. http://dx.doi.org/10.4995/lc.2020.13374.

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Esta introducción pretende acercar al lector al pensamiento de Le Corbusier de la mitad de los años cincuenta, en un momento creativo de gran intensidad, representado por el Poème de l’Angle Droit, y recogido de forma sintética en “Tout arrive enfin à la mer….”. Escrito inicialmente en 1954, en el curso de un vuelo entre Bombay y París, como una aportación a las publicaciones del Institut de l’Avenir Humain, una institución destinada al estudio de los problemas del hombre en la sociedad del momento, bajo el influjo del pensamiento de Teilhard de Chardin. En este artículo refleja sus reflexione

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13

Grignolo, Roberta. "The Couvent de La Tourette from 1960 to the present day. Future Discernibility of Past Interventions." LC - 50 Years After, no. 53 (2015): 64–73. http://dx.doi.org/10.52200/53.a.1ig880rf.

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The La Tourette Convent, built by Le Corbusier in Eveux (1953–1960) was subjected to interventions very soon after its inauguration. The article presents a critical analysis of these interventions: those overseen by Fernand Gardien (until 1964) right after completion; those undertaken before the complex was listed and for which limited documentation is available (1964–1979); the restoration campaign led by the Architecte en Chef des Monuments Historiques (ACMH) Mortamet, who followed an approach based on the completion of Le Corbusier’s work; lastly the most recent campaign, overseen by the AC

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14

Yussupova, A. A., A. N. Yussupov, and B. S. Nsanbayev. "Determining the optimal parameters of landscape architectural elements." Bulletin of Kazakh Leading Academy of Architecture and Construction 79, no. 1 (2021): 166–71. http://dx.doi.org/10.51488/1680-080x/2021.1-22.

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The necessity of the development of architecture in modern economic conditions raises new challenges to architects and builders: the design of architectural objects in accordance with international standards. In this regard, this article discusses the harmonization of the architectural environment with using of the Corbusier Modulor. Examples of the tasks for students from the modern practice of architecture and urban planning are given. Modulor Corbusier combines the canons of the Golden ratio and the proportions of human size. The table for the use of the Modulor in educational design for th

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Alison, Aurosa, and Gioconda Cafiero. "L’Esprit du Sacré: Le Corbusier and the necessary Utopia of Sainte Marie de La Tourette." Resourceedings 2, no. 3 (2019): 141. http://dx.doi.org/10.21625/resourceedings.v2i3.641.

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“L’homme qui recherche l’harmonie a le sens du sacré”. In this way Le Corbusier claims the main difference between holiness and spirituality. In the omitted comparison, it is clear that the Architect's main interest is to highlight the strong laical and spiritual character of which is harmonious both in Nature and Architecture. Thanks to this approach, the democratic reception of the spiritual feeling overcomes the sacred one which remains linked to semantics stratifications that still require interpretation. In order to develop a democratic vision to community life, Le Corbusier entrusts the

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Cakaric, Jasenka, and Aida Idrizbegovic-Zgonic. "Additional insight into creative contribution of Le Corbusier." Facta universitatis - series: Architecture and Civil Engineering 17, no. 3 (2019): 283–97. http://dx.doi.org/10.2298/fuace190507017c.

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Social turbulences and discontinuities of the 20th century, have as always reflected upon scientific and creative achievements, most visible in changes in architectural thought and relation to space. First half of the 20th century was shaped by the modernist movement, represented through technical and technological achievements of building into economy, social context and culture giving an overall sense of units and spirt of urbanism and architecture of the modern era. In architecture there is a special place for the architect of the new era Le Corbusier whose narrative shaped and dominated th

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17

Fontana, Maria Pia, Miguel Mayorga, and Margarita Roa. "LE CORBUSIER: URBAN VISIONS THROUGH THRESHOLDS." Journal of Architecture and Urbanism 40, no. 2 (2016): 87–98. http://dx.doi.org/10.3846/20297955.2016.1196541.

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In Le Corbusier’s work the threshold is represented like a revealing and enigmatic space that define the relations of the limit or boundary, the separation and the union between the buildings and the urban spaces, and the space that defines, qualifies and characterises the minimum condition of urbanity of any work of architecture, irrespective of its use or scale. Through an analysis of the draws based on the study of the six notebooks of The Voyage d’Orient (1911), and of the study of the urban settings visited, we verified that the threshold is, for Le Corbusier, a space or sequence of space

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18

Udovicki-Selb, Danilo. "Le Corbusier and the Paris Exhibition of 1937: The Temps Nouveaux Pavilion." Journal of the Society of Architectural Historians 56, no. 1 (1997): 42–63. http://dx.doi.org/10.2307/991215.

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This essay examines the circumstances leading to the completion of Le Corbusier's and Pierre Jeanneret's Temps Nouveaux Pavilion and reconstructs both the significant role Jeanneret played in the pavilion's design and the relationships Le Corbusier used in his partially successful effort to be represented at the International Exhibition of 1937. This episode sheds light on Le Corbusier's attempts at seducing the French Left, after a protracted yet futile courtship of the Right. While suggesting a new reading of Le Corbusier's design strategies in the larger urban system of Paris, this essay at

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19

Lapunzina, Alejandro. "The pyramid and the wall: an unknown project of Le Corbusier in Venezuela." Architectural Research Quarterly 5, no. 3 (2001): 255–70. http://dx.doi.org/10.1017/s1359135501001300.

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In 1951, Le Corbusier designed a funerary chapel in Caracas to honour the memory of Colonel Carlos Delgado-Chalbaud, the recently assassinated president of the Venezuelan military junta. This enigmatic project – unknown until now – provides an interesting insight into Le Corbusier's use of architectural references and their layers of symbolic meaning. Most documents have mysteriously disappeared, but the few remaining have allowed the project to be reconstructed rather accurately.

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20

Samuel, Flora. "The Representation of Mary in the Architecture of Le Corbusier's Chapel at Ronchamp." Church History 68, no. 2 (1999): 398–416. http://dx.doi.org/10.2307/3170863.

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In the Fondation Le Corbusier in Paris there is a little guide for pilgrims that was given to the architect when he began work on the pilgrimage chapel of Notre Dame du Haut Ronchamp (1955), probably the most influential yet contentious building of the twentieth century (fig. 1). Within the guide, the section on the cult of Mary has been heavily underlined and in the margin is the word “feminism,” written by Le Corbusier, a very unusual departure for a man of his times. In this article I will examine the role of Mary in the work of Le Corbusier and discuss the way in which she is interpreted i

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21

Lange, Alexandra. "Review: Le Corbusier before Le Corbusier: Applied Arts, Architecture, Painting, and Photography, 1907-1922." Journal of the Society of Architectural Historians 62, no. 4 (2003): 516–18. http://dx.doi.org/10.2307/3592502.

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22

Fraser, Valerie. "Cannibalizing Le Corbusier: The MES Gardens of Roberto Burle Marx." Journal of the Society of Architectural Historians 59, no. 2 (2000): 180–93. http://dx.doi.org/10.2307/991589.

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In 1938 Roberto Burle Marx designed the gardens for the new Ministry of Education building in Rio de Janeiro, a building that had been designed by a team of Brazilian architects, with Le Corbusier acting as consultant. In the 1920s and 1930s, Brazilian radicals, anxious not to perpetuate the dependency of the past, often adopted an irreverent attitude toward European culture, and although Le Corbusier's visits to Brazil in 1929 and 1936 were undoubtedly influential, his ideas were not received uncritically. This paper suggests that Le Corbusier's negative attitude to aspects of the natural lan

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23

Passanti, Francesco. "The Vernacular, Modernism, and Le Corbusier." Journal of the Society of Architectural Historians 56, no. 4 (1997): 438–51. http://dx.doi.org/10.2307/991313.

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The modernist architecture of the 1920s, often referred to by the terms "machine aesthetic" and "International Style," has been seen as antithetical to the vernacular. Focusing on Le Corbusier, this essay argues that, to the contrary, the vernacular played an essential role in the construction of modernist architecture, as conceptual model for a notion of modern vernacular-one as naturally the issue of modern industrial society, and as representative of it, as the traditional vernacular of common parlance had been of earlier societies. Le Corbusier arrived at this notion by layering on each ot

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Brott, Simone. "THE GHOST IN THE CITY INDUSTRIAL COMPLEX: LE CORBUSIER AND THE FASCIST THEORY OF URBANISME." Journal of Architecture and Urbanism 40, no. 2 (2016): 131–42. http://dx.doi.org/10.3846/20297955.2016.1181012.

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In 1927 le Faisceau’s newspaper Le Nouveau Siècle printed a feature “Le Plan Voisin” on Le Corbusier’s 1922 redesign of Paris, including an extract Le Centre de Paris from his Urbanisme (1925). Le Corbusier’s book was considered the “prodigious” model for the Fascist state that the league’s leader Georges Valois called La Cité Française – after his mentor the French engineer and revolutionary philosopher Georges Sorel, who, originally on the radical left, would eventually be credited as the parent of twentieth-century fascist thought. Valois and Le Corbusier had inherited the longer genealogy

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Sequeira, Marta. "RETHINKING LE CORBUSIER: URBAN DESIGN AND HISTORY." Journal of Architecture and Urbanism 40, no. 2 (2016): 59. http://dx.doi.org/10.3846/20297955.2016.1195037.

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26

Gans, Deborah. "Le Corbusier Le Grand." Journal of Architecture 15, no. 4 (2010): 537–39. http://dx.doi.org/10.1080/13602365.2010.507533.

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27

Jahnkassim, Puteri Shireen, and Norwina Mohd Nawawi. "ALLUSIONS TO MUGHAL URBAN FORMS IN THE MONUMENTALITY OF CHANDIGARH’S CAPITOL COMPLEX." Journal of Architecture and Urbanism 40, no. 3 (2016): 177–90. http://dx.doi.org/10.3846/20297955.2016.1210050.

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The formative influence of the Mughal gardens on the urban spaces of the Capitol Complex, Chandigarh is discussed as part of Le Corbusier’s vision in realising new urban symbols to represent an independent India. Corbusier had not only “regionalised” Modernist elements of architectural design but had “modernised” past urban forms by artfully rejecting the traditional gridded patterns and urban traditions such as the Mughal gardens, and transforming them into a dynamic restructuring and interplay of urban forms and spaces. To disassociate the new capital from its Colonial past and to create a n

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28

Murphy, Kevin D. "The Villa Savoye and the Modernist Historic Monument." Journal of the Society of Architectural Historians 61, no. 1 (2002): 68–89. http://dx.doi.org/10.2307/991812.

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This article argues that the debate over the fate of Le Corbusier's Villa Savoye (1928-1931) in Poissy, France-which was in derelict condition by the 1950s-occasioned an international reconsideration of the architect's work as well as a reconsideration of the French architectural patrimony. The author argues that, while the house has been discussed since the time of its completion in largely formal terms, more recent scholarship has opened up the debate on the material circumstances of its construction and the ideological implications of its design. As part of this new perspective, it is impor

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29

Zaparaín Hernández, Fernando. "LE CORBUSIER: CONCURSOS Y PALACIOS." Proyecto, Progreso, Arquitectura, no. 7 (2012): 160–73. http://dx.doi.org/10.12795/ppa.2012.i7.11.

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ZASLAVSKAYa, A. Yu. "FEATURES, FORMING AN ARCHITECTURAL OBJECT, BASING ON FRACTAL STRUCTURES." Urban construction and architecture 1, no. 2 (2011): 15–17. http://dx.doi.org/10.17673/vestnik.2011.02.4.

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The use of fractal structures in contemporary architecture is presented. Features and properties of nature fractal structures and abilities of their usage in architectural objects at the level of three components structure, construction, shell or form - are discussed. The theme of fractals is seen in F.L. Rights works, who positioned organic approach, Le Corbusier, who got ahead the time with his ideas of ecological approach to projecting. In contemporary architecture fractal structures are successfully use by such famous professionals as Daniel Libeskind, Greg Lynn, Toyo Ito.

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Zaknic, Ivan, Le Corbusier, Andre Wogenscky, and Bruno Chiambretto. "Le Corbusier Sans Fin." Journal of Architectural Education (1984-) 42, no. 3 (1989): 49. http://dx.doi.org/10.2307/1425064.

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Daza, Ricardo. "FROM ROME TO NEW YORK BACKGROUND TO THE URBAN PROPOSALS OF LE CORBUSIER." Journal of Architecture and Urbanism 40, no. 3 (2016): 240–49. http://dx.doi.org/10.3846/20297955.2016.1210052.

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The paper argues that urban proposals of Le Corbusier arise from the study of the history of architecture. Through a comparison of his journey impressions with his urban projects, this paper demonstrates that the ideas and perceptions that determined Le Corbusier proposals were extracted and interpreted from the study that the young architect carried out of the settlements and cities of Eastern Europe and the Mediterranean in his well-known Voyage d’Orient.

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33

Allmer, Açalya. "The architecture of gigantic drapery: the Richard B. Fisher Center for the Performing Arts, Bard College." Architectural Research Quarterly 11, no. 3-4 (2007): 265–75. http://dx.doi.org/10.1017/s1359135500000762.

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‘The power of architecture (the potential of architecture) is integral to the spirit that orders the grouping of the elements that make up the house; – because architecture emanates, and does not clad; it is more an odour than a drapery, a state of aggregations, more than an enveloping surface.’ (Le Corbusier)

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Brott, Simone. "Architecture et révolution: Le Corbusier and the Fascist Revolution." Thresholds 41 (January 2013): 146–57. http://dx.doi.org/10.1162/thld_a_00106.

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Spencer, Clare. "Designing the Person: Sociological Assumptions Embodied within the Architecture of Charles Rennie Mackintosh and Le Corbusier." Irish Journal of Sociology 14, no. 1 (2005): 141–62. http://dx.doi.org/10.1177/079160350501400109.

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This essay presents a comparative study of the sociological assumptions implicit, and to some extent explicit, in the work of two famous architects, Charles Rennie Mackintosh and Le Corbusier. The inhabitant implied through the architectural practice of Le Corbusier resembles Elias's homo clausus (closed person), the mode of self experience viewed by Elias as the dominant one in Western society and one which sees the individual person as a ‘thinking subject’ and the starting point of knowledge. Mackintosh's designs, in contrast, imply individual people closer to Elias‘s homines aperti, social

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Lin, Mo Fei, and Yan Chen. "Enlightenments of Four Master Builders’ Thoughts and Practices to Modern Landscape Design." Applied Mechanics and Materials 174-177 (May 2012): 2588–91. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2588.

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Gropius, Corbusier, Wright and Mies, the founders of modern architectural system, had great influence on modern architecture. This paper attempts to re-analyze the thoughts and practices of the four master builders from the aspect of landscape design and illustrated some enlightenments to modern landscape design in terms of the utilization of natural environment, the distribution and organization of space, the creation of formal language and the application of materials.

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37

Zaparaín Hernández, Fernando, Jorge Ramos Jular, and Pablo Llamazares Blanco. "Le Corbusier: publicaciones en Estados Unidos, 1925-1939." LC. Revue de recherches sur Le Corbusier, no. 2 (October 7, 2020): 42. http://dx.doi.org/10.4995/lc.2020.13571.

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Se recopilan y analizan las publicaciones, de y sobre Le Corbusier, en Norteamérica, en el periodo de entreguerras, que corresponde con la difusión inicial de sus ideas e incluye su participación en la Modern Architecture International Exhibition del MoMA en 1932, su muestra de pintura en la galería Becker en 1933 y el viaje con exposición de 1935. Durante esta época se consolidaron en Estados Unidos la estandarización industrial, la automoción o los fenómenos urbanos complejos, que atrajeron a Le Corbusier, y propiciaron allí el interés por sus alegatos sobre la máquina. Se aporta un listado

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Gutiérrez, Rosa Urbano. "Le pan de verre scientifique: Le Corbusier and the Saint-Gobain glass laboratory experiments (1931–32)." Architectural Research Quarterly 17, no. 1 (2013): 63–72. http://dx.doi.org/10.1017/s1359135513000365.

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As to the isothermicity of the translucent walls, experimental laboratories will be able in the near future to give us a new translucent material whose isothermal properties will be equal to that of the thickest wall. From then on, we will witness the inauguration of a new era: buildings will be altogether hermetically closed. Windows will no longer be needed on the façade; consequently neither dust nor flies nor mosquitoes will enter the houses; nor will noise.Le Corbusier's fascination with light and glass formed a continuing thread throughout his career. After his maxim ‘architecture is lig

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Caldenby, Claes. "Tage William-Olsson: planner and polemicist." Architectural Research Quarterly 7, no. 3-4 (2003): 295–309. http://dx.doi.org/10.1017/s1359135503002240.

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In 1934 Le Corbusier wrote to Tage William-Olsson: ‘You have created, in Stockholm, the first great work of the modern time, the traffic junction of Slussen [1]. It seems as if everything should go on in the same scale. Don't despair. Go on, make proposals, fight…’ These encouraging words from the vigorous master certainly suited an architect whose father had told him that, ‘There are two things in front of which you shouldn't despair, those which you can't change and those which you can’. He hung Le Corbusier's letter on the wall of his office.

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40

PRADHAN, Jdya, and Toshio ASANO. "ARCHITECTURAL FORM AND PROPORTION OF MAISON SUISSE BY LE CORBUSIER : Study on the form and proportion of Le Corbusier's architecture." Journal of Architecture and Planning (Transactions of AIJ) 66, no. 544 (2001): 303–8. http://dx.doi.org/10.3130/aija.66.303_1.

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41

Vega, Macarena de la. "Reconsidering Emil Kaufmann’s Von Ledoux bis Le Corbusier." Cuaderno de Notas, no. 15 (November 28, 2014): 110. http://dx.doi.org/10.20868/cn.2014.2962.

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El objetivo de este ensayo es re-abrir y re-leer Von Ledoux bis Le Corbusier de Emil Kaufmann. A pesar de que Panayotis Tournikiotis y Anthony Vidler lo incluyeran en sus respectivos discursos sobre la historiografía de la arquitectura moderna, se propone reconsiderar a su autor como un historiador pionero de la Ilustración. Tres ideas: el único protagonista del libro es Claude-Nicolas Ledoux; la arquitectura en torno a 1800 necesitaba una reevaluación; y la obra de Kaufmann se enmarca en un tiempo de búsqueda de una nueva ciencia del arte y una nueva historia de la arquitectura. Kaufmann es u

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Schnoor, Christoph. "Le Corbusier and the Occult." Journal of Architecture 15, no. 5 (2010): 703–7. http://dx.doi.org/10.1080/13602365.2010.519962.

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Jain, Shikha. "Capitol Complex at Chandigarh Faces Development Challenges." LC - 50 Years After, no. 53 (2015): 84–85. http://dx.doi.org/10.52200/53.a.2vicbmo1.

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Le Corbusier’s vision for the Capitol Complex as the crown of Chandigarh city nestled in the backdrop of the Himalayas responded well to the aspirations of a modern and independent India in 1948. As recorded by several researchers of modern architecture, the Capitol Complex was strategically designed by Le Corbusier to share an intended visual transparency with its natural setting of the hills and forests in the backdrop. While Chandigarh has expanded to the south-west with the initial designed sectors now giving way to large scale housing structures on the outskirts, the original sectors and

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Gherardini, Susanna Caccia, and Carlo Olmo. "La Villa Savoye after Le Corbusier, une Longue Histoire." LC - 50 Years After, no. 53 (2015): 40–47. http://dx.doi.org/10.52200/53.a.ekiza53a.

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This is a study of the microhistory of Villa Savoye that has already been realized, which thus does not concern its genesis (almost too studied by others). In the construction site of microhistory the reduced scale of observation is the space which may permit the reconstruction of interpersonal relationships as a historical subject and to experiment with new procedures and put interpretative categories to the test. The problem regarding the construction defects is more or less a constant in the work of Le Corbusier, in addition to the speed of the processes of both ageing and decay which are c

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KATO, Michio. "Toward a Choral Architecture -«National Western Museum» by Le Corbusier." Journal of Graphic Science of Japan 51, no. 1 (2017): 5. http://dx.doi.org/10.5989/jsgs.51.1_5.

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PRADHAN, Jaya, and Toshio ASANO. "ARCHITECTURAL FORM AND PROPORTION OF MARSEILLE'S UNITE D'HABITATION BY LE CORBUSIER : Study on the form and proportion of Le Corbusier's architecture." Journal of Architecture and Planning (Transactions of AIJ) 65, no. 535 (2000): 291–96. http://dx.doi.org/10.3130/aija.65.291_2.

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Underwood, David. "Popular Culture and High Art in the Work Of Oscar Niemeyer." Anales del Instituto de Investigaciones Estéticas 16, no. 65 (1994): 139. http://dx.doi.org/10.22201/iie.18703062e.1994.65.1705.

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In his early domestic architecture, Oscar Niemeyer following the footsteps of Le Corbusier “monumentalized” the modernist and the Brazilian. Niemeyer’s later work is a more aggressive interactive process: the manipulation of popular traditions for the ideological purposes of populist politics. Niemeyer has reshaped the ritual of the carnival festival by creating a unique space for its yearly celebration: the “Sambódromo.” The institutionalization of the samba parade into a fixed architectural contex implies a demagogic (elite-controlled) restructuring of popular ritual.

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Jász, Borbála. "Hidden Modernism: Architecture Theory of the Socialist Realist Gap." Periodica Polytechnica Architecture 49, no. 1 (2018): 92–97. http://dx.doi.org/10.3311/ppar.12168.

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The aim of this paper is to clarify and exemplify the difference between modern, socialist realism and late modern in architecture. In the general pre-theoretical use of these terms, this distinction is often blurred; a unified expression, socialist realism, is used for all the aforementioned terms. This paper will examine a possible answer for this phenomenon by using examples from different areas of eastern-Central Europe, especially from Hungarian architecture.The paper first focuses on the façadism of socialist realism in the architecture of eastern-Central Europe. Following this, it shows

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Canales, Jimena, and Andrew Herscher. "Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos." Architectural History 48 (2005): 235–56. http://dx.doi.org/10.1017/s0066622x00003798.

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Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essent

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Delemontey, Yvan. "The Marseille Unité d’Habitation after Le Corbusier: Or the Chronicle of a Permanent Construction Site." Housing Reloaded, no. 54 (2016): 60–65. http://dx.doi.org/10.52200/54.a.mvlpsylx.

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Now that Le Corbusier's architectural oeuvre has been nominated for the third time for inclusion in the list of UNESCO World Heritage Sites, it is useful to revisit one of his icons built in the aftermath of World War II: the Unité d’Habitation in Marseille. Far from wishing to retrace the genesis of this outstanding building, it is a different story that I would like to sketch out here. Less well known, it is, however, fundamental to the material understanding and conservation of modern architecture. It is a history of the many repairs and other restoration projects that have accompanied this

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