Relevant bibliographies by topics / Philips Pavilion

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Philips Pavilion'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Philips Pavilion"

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Clarke, Joseph. "Iannis Xenakis and the Philips Pavilion." Journal of Architecture 17, no. 2 (April 2012): 213–29. http://dx.doi.org/10.1080/13602365.2012.678641.

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Ouzounian, Gascia. "Visualizing Acoustic Space." Circuit 17, no. 3 (February 28, 2008): 45–56. http://dx.doi.org/10.7202/017589ar.

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Abstract This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair. Designed by Le Corbusier, the Philips Pavilion also featured a black-and-white film, color projections, hanging sculptures, and Edgard Varèse’s Poème électronique, a spatial composition distributed over hundreds of loudspeakers and multiple sound routes. Typically remembered as a sequence of abstract sound geometries, the author argues that Poème électronique was instead an allegorical work that told a “story of all humankind.” This narrative was expressed through a series of conceptual binaries that juxtaposed such categories as primitive/enlightened, female/male, racialized/white, and sensual/ rational– contrasts that were framed within the larger dialectic between acoustic and visual space.
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Moreschi, Bruno, and Gabriel Pereira. "Recoding Art." Revista Farol, no. 22 (October 26, 2020): 10–35. http://dx.doi.org/10.47456/rf.v1i22.32686.

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When Varèse lived in that street sixty years earlier, he was creating Poème Electronique, a commission from the Philips company. The eight-minutes song would become the soundtrack of the pavilion created by Le Corbusier at the 1958 Brussels World's Fair. For this composition, Varèse gathered trivial sounds from Eindhoven, noises that would only be the disposable sounds of everyday life for many. But not the composer who, exhibiting keen attention and sensitivity, saw poetic power in these sounds and produced a striking composition. [...]
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Harley, James. "Marc Treib: Space Calculated in Seconds: The Philips Pavilion, Le Corbusier, Edgard Varèse." Computer Music Journal 24, no. 3 (September 2000): 74–76. http://dx.doi.org/10.1162/comj.2000.24.3.74.

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Mondloch, Katie. "A Symphony of Sensations in the Spectator: Le Corbusier's Poème électronique and the Historicization of New Media Arts." Leonardo 37, no. 1 (February 2004): 57–62. http://dx.doi.org/10.1162/002409404772828148.

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This essay seeks to historicize the technological production of artistic virtual space, which is often misconstrued as having originated with contemporary new media art production. The author critically investigates Le Corbusier's Poème électronique, a 1958 automated multimedia performance commissioned by the Philips Corporation for its pavilion at the World's Fair in Belgium, as a paradigmatic example of much earlier attempts to create a spatialized, virtual experience in the spectator. The author argues that the highly disciplined spectatorship conditions of the Poème électronique have many suggestive parallels with those of contemporary artistic production in new media, thus offering a theoretical and historical foundation for art-historical discourse regarding the proliferation of immersive multimedia artworks in contemporary practice
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Mindrup, Matthew. "The architect’s task: the use of models as structural expressionism." Architectural Research Quarterly 25, no. 1 (March 2021): 4–16. http://dx.doi.org/10.1017/s1359135521000051.

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In the above cited quote, Kevin Roche, a principal associate at Eero Saarinen’s architectural practice in 1957, recalls an early morning discussion about the design of the Trans World Airlines’ (TWA) Flight Center. Roche’s story about Saarinen reminds us that at the beginning of an architectural project, a solution may come from any variety of sources, not least of all from everyday objects. This was certainly the case for Saarinen, who found the seed for his design of the structural shells of the TWA Flight Center in the rind of a grapefruit. Despite its seeming novelty, Saarinen is not unique in his approach to the generation of architectural form with models; the Greek-French composer, architect and engineer Iannis Xenakis, who while working with Le Corbusier in 1957, used strings and thick wire to design the hyperbolic shell for their Philips Pavilion at the 1958 Brussels Expo. That a model will play a defining role in an architect’s approach to structural design is also demonstrated by the ‘spherical solution’ that Jørn Utzon discovered while stacking models of his Sydney Opera House’s shell roofs. These explorations with the expression of structure emerged at a time when a new generation of designers, including Eduardo Torroja, Pier Luigi Nervi and Felix Candela, had realised a handful of buildings using models to study and test structural form.
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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.

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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.
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Pico Valimaña, Ramón. "La recuperación instrumental de la Historia en el Pre-Columbian Pavilion de Dumbarton Oaks." Cuaderno de Notas, no. 18 (November 20, 2017): 148. http://dx.doi.org/10.20868/cn.2017.3604.

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En el contexto de la revisión crítica de la modernidad arquitectónica que se produjo en los cincuenta Philip Johnson destacó como activo defensor de la recuperación instrumental de la Historia. El pabellón para la ampliación del Museo de Dumbarton Oaks constituye en este sentido una pieza clave, olvidada o temida por la crítica, y en la que su contacto con Mildred Bliss resultaría decisiva. En este trabajo se analiza esta obra y las vicisitudes de su creación.
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Barthel-Calvet, Anne-Sylvie. "De l’ubiquité poïétique dans l’oeuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture." Articles 29, no. 2 (November 23, 2010): 9–51. http://dx.doi.org/10.7202/1000038ar.

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Dans les deux domaines de l’activité créatrice de Iannis Xenakis que sont la musique et l’architecture, on peut constater parfois la présence de principes identiques. Se pose alors la question de la nature des liens entre les deux champs : s’agit-il d’une pure ubiquité poïétique ou bien plutôt du transfert d’un concept propre à l’un des domaines vers un autre auquel il est extrinsèque et donc facteur d’innovation ? L’étude des rapports entre les deux oeuvres contemporaines que sont Metastasis et le Couvent de la Tourette permet d’y dégager deux principes y apparaissant de manière ubiquitaire : l’utilisation de permutations et l’élaboration d’un système d’organisation proportionnelle des durées et des dimensions spatiales. En revanche, les glissandi de Metastasis et les paraboloïdes hyperboliques du Pavillon Philips qui témoignent de l’intérêt de Xenakis pour les phénomènes de continuité, répondent à un principe de transfert qui induit des écarts perceptuels non négligeables d’un domaine à l’autre. Ultérieurement, Xenakis en viendra à travailler conjointement dans les dimensions spatiale et temporelle avec la « cinématique sonore » qu’il développa à la fois dans sa production électroacoustique et instrumentale des années soixante et soixante-dix. Dans Persephassa et Windungen qui en constituent des exemples emblématiques, la vitesse de déplacement du son dans l’espace apparaît comme un nouveau paramètre compositionnel.
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Duckhyun Hwang. "L'Étude sur la filiation entre l'architecture et le multimédia à travers le Pavillon Philips - Au point de vue du concept architectural de Le Corbusier -." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 19 (November 2009): 129–51. http://dx.doi.org/10.18022/acfco.2009..19.006.

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Dissertations / Theses on the topic "Philips Pavilion"

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Ozcan, Zeynep. "Intersection Of Architecture And Music As Gesamtkunstwerk In Iannis Xenakis." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615539/index.pdf.

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This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001)
Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk
&ldquo
total work of art.&rdquo
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Neves, Hugo Veiga Simão de Canedo. "O som na percepção sensível da arquitectura : três casos de estudo." Master's thesis, 2014. http://hdl.handle.net/11067/1238.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2014.
Exame público realizado em 22 de Outubro de 2014.
Este trabalho é um estudo sobre o impacto do som na percepção das características de diferentes espaços, no sentido de entender como a adequação do desenho arquitectónico à capacidade auditiva do ser humano pode ser utilizada para a obtenção de um determinado resultado. Trata-se então, em primeiro lugar, de determinar a importância da dimensão sensível do ser humano na percepção e concepção da arquitectura, como ponto de partida para uma análise que se foca no som, na audição e na acústica, num contexto contemporâneo que privilegia sobremaneira a visão, pretendendo explorar uma pretendida inversão no paradigma da falta de atenção do homem contemporâneo face aos inúmeros estímulos que a arquitectura oferece. Utilizam-se como exemplos fundamentais de obras demonstrativas desta relação entre o som e o espaço o Philips Pavilion, o Jüdisches Museum, a Stretto House, e um trabalho académico desenvolvido na Av. da Liberdade, Lisboa, no ano lectivo de 2012-13, no qual foram utilizadas a captação de som e imagem como ferramentas de pesquisa e exposição. Como finalidade do trabalho pretende-se descobrir possibilidades e apontar caminhos no futuro uso do som, tanto no processo projectual, como no seu papel de ferramenta fundamental de comunicação e interacção global, na partilha de ideias sobre arquitectura e no entendimento da relação entre diferentes culturas e lugares.
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Effenbergerová, Klára. "Netradiční výrazové prostředky a techniky. Matematické principy v komparaci netradičního výtvarného a hudebního díla." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312833.

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Univerzita Karlova v Praze / Pedagogická fakulta / Katedra výtvarné výchovy // Charles University in Prague / Faculty of Education / The Department of Fine Art Education Netradiční výrazové prostředky a techniky Matematické principy v komparaci netradičního výtvarného a hudebního díla UnconventionalMeansofexpressionandtechniques Mathematical principles in comparing unconventional visual and musical art Klára Effenbergerová Výtvarná výchova - pedagogika Prezenční studium, 5. ročník Datum dokončení: květen 2011 Vedoucí práce: Doc. PhDr. Jaroslav Bláha, Ph.D. Abstract The thesis deals with a comparative analysis of a project called Poéme électronique in the Philips Pavilion (1958), while an emphasis is put on its mathematical background and broader interdisciplinal contexts. Particular attention is devoted to grand oldman Iannis Xenakis. The thesis tries to interpret the phenomenon of Electronic poetry, which we understand as an effort to design a multimedia "Gesamtkunstwerk". This brings the necessitate of the multi-specialized synthetic approach in searching of a relationship between the kinds of arts, and the analysis of interactions of individual project components.
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Books on the topic "Philips Pavilion"

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Space calculated in seconds: The Philips Pavilion, Le Corbusier, Edgard Varese. Princeton, N.J: Princeton University Press, 1996.

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Capanna, Alessandra. Le Corbusier: Padiglione Philips, Bruxelles. Torino: Testo & immagine, 2000.

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Inside le Corbusier's Philips Pavilion: A Multimedial Space at the 1958 Brussels World's Fair. NAi Uitgevers / Publishers Stichting, 2015.

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Beesley, Philip. Hylozoic ground : Canadian Pavilion, Venice Biennale, Venice, Italy - 2010 / Philip Beesley (Living Architecture Systems Group). Riverside Architectural Press, 2016. http://dx.doi.org/10.21312/978-1-926724-99-7.

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Book chapters on the topic "Philips Pavilion"

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Capanna, Alessandra. "Conoids and Hyperbolic Paraboloids in Le Corbusier’s Philips Pavilion." In Architecture and Mathematics from Antiquity to the Future, 377–87. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00143-2_25.

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"1947 Philip C. Johnson." In Mies van der Rohe Barcelona-Pavillon, 153–55. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619911-039.

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"1932 Philip C. Johnson." In Mies van der Rohe Barcelona-Pavillon, 145–46. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619911-036.

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"1947 Philip C. Johnson." In The Barcelona Pavilion by Mies van der Rohe, 138–39. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-039.

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"1932 Philip C. Johnson." In The Barcelona Pavilion by Mies van der Rohe, 130–31. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-036.

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"Philip Johnson: Modernism, Pavilions, History, Liminality." In Hut Pavilion Shrine: Architectural Archetypes in Mid-Century Modernism, 139–88. Routledge, 2016. http://dx.doi.org/10.4324/9781315587677-7.

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Conference papers on the topic "Philips Pavilion"

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Martins, Pedro Filipe, Sandra Nunes, Paulo Fonseca de Campos, and José Pedro Sousa. "RETHINKING THE PHILIPS PAVILION THROUGH ROBOTIC HOT WIRE CUTTING. An experimental prototype." In 37 Education and Research in Computer Aided Architectural Design in Europe and XXIII Iberoamerican Society of Digital Graphics, Joint Conference (N. 1). São Paulo: Editora Blucher, 2019. http://dx.doi.org/10.5151/proceedings-ecaadesigradi2019_660.

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Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.

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Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que refuerza la hipótesis planteada. Por otro lado, se realiza un análisis de Poème électronique - filme de 480” que Le Corbusier hace en 1958 con motivo de la Exposición Universal en Bruselas - con la intención de visibilizar que Le Corbusier recurre a la técnica del montaje dialéctico de la que Eisenstein era maestro y por tanto la consustancial influencia. Le Corbusier reconoce el potencial de esta técnica de montaje y se sirve de ella como la estrategia clave en su aproximación al ámbito de la cinematografía. El mecanismo del montaje dialéctico forma parte de su propio pensamiento y lo materializa en su arquitectura y también en el caso de estudio que nos ocupa, en la disciplina de la imagen en movimiento, tan próxima a ésta. Pero hay más, en el Pabellón Philips la técnica del montaje oculto - sobre la que Eisenstein había teorizado en aquél periodo - está presente, pues mediante éste mecanismo construye la puesta en escena del espectáculo total. Como veremos, Poème électronique representa la construcción de un sueño. Abstract: This article reviews the relationship between the architect Le Corbusier and the filmmaker Sergei Eisenstein. When launched, it was seen to hypothesise the possible influence of the filmmaker in the work of Le Corbusier. Le Corbusier versus Eisenstein, in the deepest sense of the expression, is portrayed as "towards to": Le Corbusier towards the film, not in opposition to it. It outlines the role of each figure and their interactions during the period between 1928 and 1936, the time when Le Corbusier got closer to the Soviet Union. This context forms a complex framework from which it is possible to glimpse what it is that links them, reinforcing the hypothesis-raised. On the other hand, this work presents an analysis of the Poème électronique - 480" film Le Corbusier made in 1958 for the Universal Exhibition in Brussels - in order to exemplify that Le Corbusier uses the technique of dialectical montage, in which Eisenstein was the undisputed master, thereby highlighting an inherent influence. Le Corbusier recognises the potential of this montage technique and uses it as a key strategy in his approach to the field of cinema. The mechanism of dialectical montage is a part of Le Corbusier's own thought and this materialises both in his architecture as well as in the subsequent case study regarding the discipline of the moving image, which is closely aligned to it. There is, however, more to it. In the Philips Pavilion, the hidden montage technique - theorised by Eisenstein in that period - is present, the use of which was the mechanism to construct the stage for the spectacle as a whole. As we will see, Poème électronique represents the construction of a dream. Palabras clave: Eisenstein; Le Corbusier; Le Poème électronique; montaje dialéctico; montaje oculto; cinematografía. Keywords: Eisenstein; Le Corbusier; Le Poème électronique; dialectical montage; hidden montage; cinematography. DOI: http://dx.doi.org/10.4995/LC2015.2015.824
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Vozza, Vito Maria Benito, and Luigi Corniello. "The drawing of hyperbolic paraboloids of the Philips Pavillion." In The 3rd Virtual Multidisciplinary Conference. Publishing Society, 2015. http://dx.doi.org/10.18638/quaesti.2015.3.1.209.

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Dubois, Marc. "Le Corbusier et la Belgique / Son Héritage." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.896.

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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 & De Meyer, deSingel, Riverside Tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.896
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