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Articles de revues sur le sujet « Le Corbusier »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 25 juillet 2025

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1

Brott, Simone. "The Le Corbusier Scandal, or, was Le Corbusier a Fascist?" Fascism 6, no. 2 (2017): 196–227. http://dx.doi.org/10.1163/22116257-00602003.

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In 2015 an essay by the architect Marc Perelman was printed in Le Monde claiming Le Corbusier was a fascist and that the French academy had whitewashed this from architectural history. The 2015 exhibition Le Corbusier: Mesures de l’homme, a major retrospective of the architect, held at the Centre Pompidou was adduced as evidence since it did not mention Le Corbusier’s politics, despite three French books on Le Corbusier’s fascism appearing in 2015, and the scandal that erupted around them. The letter was signed by myself, Zeev Sternhell, Xavier de Jarcy, Marc Perelman, and Daniel de Roulet; an

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Váraljai, Anna. "The Inspirers of a Modernist Artist Identity: Le Corbusier’s Relationship with Naive and African Art." Papers in Arts and Humanities 4, no. 2 (2025): 87–93. https://doi.org/10.52885/rrzkb648.

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This study takes as its starting point a painting by André Bauchant, a naïve painter who inspired the modernists, most notably architect Le Corbusier. Bauchant’s Bouquet Le Corbusier (1927), which features a large vase and the figures of Le Corbusier and his wife shrunk to the size of ants, was given to Le Corbusier as a gift. Bauchant was a gardener who served on the front lines during the First World War, and he did not start painting until reaching old age. In addition to André Bauchant Le Corbusier’s other favorite painter was the indigenous, self-taught African artist Kalifala Sidibé. Le

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Charitonidou, Marianna. "Le Corbusier’s Ineffable Space and Synchronism: From Architecture as Clear Syntax to Architecture as Succession of Events." Arts 11, no. 2 (2022): 48. http://dx.doi.org/10.3390/arts11020048.

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This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony

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Huet, Jacobé. "Prospective and Retrospective: Le Corbusier’s Twofold Voyage d’Orient." Muqarnas Online 38, no. 1 (2021): 291–330. http://dx.doi.org/10.1163/22118993-00381p10.

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Abstract In 1911, a twenty-three-year-old Le Corbusier embarked on a six-month journey from Dresden to Istanbul, and back to his native Switzerland through Greece and Italy. Upon his return, the young architect unsuccessfully attempted to publish his travel notes as a book in 1912 and again in 1914. Only in 1965, forty days before his death, did Le Corbusier conduct the final revision of his 1914 typescript for publication. The next year, Le Voyage d’Orient was published posthumously. Previous scholarship on this book has overlooked the importance of Le Corbusier’s 1965 edits, consequently app

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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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Gandini, Bénédicte, and Michel Richard. "The Role of the Fondation Le Corbusier in the Conservation of the Le Corbusier's Architectural Work." LC - 50 Years After, no. 53 (2015): 12–17. http://dx.doi.org/10.52200/53.a.z5dbvfnb.

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Le Corbusier died on 27 August 1965 at Roquebrune-CapMartin, near his Cabanon. Without direct heirs and driven by the fear that his carefully conserved archives and works be scattered after his death, Le Corbusier spent the last fifteen years of his life conceiving and implementing, down to its smallest details, the project of a Foundation that would bear his name. Today the activity of the Fondation Le Corbusier comprises two main undertakings: circulating his work and spreading his ideas; preserving the architect’s work and collections. Indeed as the legatee and direct offshoot of its creato

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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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Pabich, Marek, and Anna Maria Wierzbicka. "Twórczość architektoniczna Le Corbusiera w Paryżu a wolność decyzji. Architektura mieszkaniowa." Środowisko Mieszkaniowe, no. 39 (October 31, 2022): 4–19. http://dx.doi.org/10.4467/25438700sm.22.009.16587.

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Autorzy przeprowadzili analizę licznych ograniczeń towarzyszących Le Corbusierowi w pracy zawodowej i ich wpływu na ostateczny kształt budynków mieszkalnych zrealizowanych w Paryżu. Wskazali na źródła tej architektury i omówili rozmaite uwarunkowania, które powodowały zmiany decyzji architekta. W tekście znajdą się spostrzeżenia autorów wynikające z wizyt w obiektach projektowanych przez Le Corbusiera, przybliżona zostanie relacja z inwestorami w trakcie projektowania domów mieszkalnych, ukazany będzie ich stan aktualny oraz przekształcenia, które nastąpiły na przestrzeni XX w. Tekst powstał w

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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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Samuel, F. "Le Corbusier Before Le Corbusier." Journal of Design History 16, no. 2 (2003): 192–94. http://dx.doi.org/10.1093/jdh/16.2.192.

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Cantero Vinuesa, Antonio. "Hablar para habitar: herramientas orales para la historia, el análisis y el proyecto de la arquitectura." Cuadernos de Proyectos Arquitectónicos, no. 12 (December 12, 2022): 54–65. http://dx.doi.org/10.20868/cpa.2022.12.4956.

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ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (

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Cantero Vinuesa, Antonio. "To speak in order to inhabit: oral tools for the history, analysis, and design of architecture." Cuadernos de Proyectos Arquitectónicos, no. 12 (December 12, 2022): 97–99. http://dx.doi.org/10.20868/cpa.2022.12.4963.

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ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (

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Kelley, Christine M. "The Chiasm: The Inverse Parallel of Le Corbusier." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 154–68. http://dx.doi.org/10.4995/lc.2023.19871.

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The “axis” is ubiquitous in Le Corbusier’s architectural oeuvre. “The Chiasm: The Inverse Parallel of Le Corbusier” examines the concept of the axis in the essays, “Architecture, Pure Creation of the Mind,” and “Architecture, The Illusion of the Plan,” published in Vers une architecture (1923). Le Corbusier writes: “…a sense of the harmonious that gives rise to a resonance…” and “…the trace of an indefinable absolute preexisting at the core of our being.” And decisively, “This must be the axis along which man is organized…”. The axis Le Corbusier described is, in fact, a chiastic device he emp

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Wensing, Thomas. "LC Foto Le Corbusier Secret Photographer, Tim Benton." Architecture Image Studies 1, no. 1 (2020): 141–43. https://doi.org/10.62754/ais.v1i1.19.

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This is a review of Tim Benton's LC Foto Le Corbusier Secret Photographer (2013), an immaculately researched and well-written book which covers the development of Le Corbusier’s photographic output. Le Corbusier had an ambiguous relationship with photography throughout his career; on the one hand he relied heavily on professional photography to promote his built work and support his discourse, but on the other hand he ‘maintained that photography was a stultifying activity, good only for lazy people’. In managing this image, he never allowed himself to be photographed holding a camera, while f

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Alonso Pereira, José Ramón. "Le Corbusier 24NC Un fragmento habitado de la Ville Radieuse = Le Corbusier 24NC An inhabited fragment of the Ville Radieuse." Cuaderno de Notas, no. 15 (November 28, 2014): 67. http://dx.doi.org/10.20868/cn.2014.2958.

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Considerado siempre como el hábitat corbuseriano por excelencia, el apartamento-atelier de Le Corbusier en Porte Molitor es una villa individual sobre un edificio colectivo edificado --según su propia expresión-- en condiciones de Ville Radieuse. Radieuse, radiante, es el término empleado para definir la ciudad ideal: una urbe moderna imaginada dentro de un gran parque. Este texto pretende analizar esa casa radiante: el lugar y el espacio donde Le Corbusier vivía y sus modos de habitarlo a través del tiempo, desde 1934 hasta su muerte, tres décadas más tarde. Porque 24NC supone el paso del pro

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Nicoll, Edna L., and Le Corbusier. "Interview Le Corbusier. 9 juin 1936." LC. Revue de recherches sur Le Corbusier, no. 10 (November 29, 2024): 150–74. http://dx.doi.org/10.4995/lc.2024.22710.

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El documento esta compuesto por 2 partes: Jorge Torres Cueco. Conjectures autour de « Interview Le Corbusier. 9 juin 1936 » . LC. Revue de recherches sur Le Corbusier Nº 10, 141 - 149. Le Corbusier et Edna L. Nicoll. Interview Le Corbusier. 9 Juin 1936. LC. Revue de recherches sur Le Corbusier Nº 10, 150 - 174.

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Voldman, Daniele, and Gerard Monnier. "Le Corbusier." Vingtième Siècle. Revue d'histoire, no. 19 (July 1988): 126. http://dx.doi.org/10.2307/3769788.

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Zervan, Marián. "On the problem of defining architecture in toward an architecture / Smerom (či K) architektúre." Umění 72, no. 2 (2024): 110–19. https://doi.org/10.54759/art-2024-0202.

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Příspěvek se zaobírá otázkou, jak Corbusier chápe pojem architektury, respektive jak definuje architekturu. Dodnes se totiž drží obraz Le Corbusiera jako revolúčního modernisty, který má rezervovaný vztah k historické architektuře. Přitom je o něm známo, že vysoce oceňoval například Parthenon a ve své vlastní tvorbě využíval palladiovské diagramy a postupy. Tyto interpretační nesrovnalosti se promítly do překladů jeho nejslavnější knihy, které název francouzského originálu Vers une architecture změnily na Towards a New Architecture. Corbusier ve skutečnosti pracuje s různými částečnými definic

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Kania, Joanna. "Wpływ Jednostki mieszkaniowej Le Corbusiera na powstanie „Superjednostki” w Katowicach." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 12, no. 1 (2017): 7–15. http://dx.doi.org/10.35784/teka.717.

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W latach międzywojennych rozpoczęto twórcze poszukiwania rozwiązania problemu mieszkaniowego. Znajdujące się w kamienicach niewielkie pomieszczenia zostały uznane przez modernistów za niewystarczająco komfortowe środowisko do zamieszkania. W 1933 roku, podczas IV Kongresu CIAM2, przy wsparciu Le Corbusiera uchwalono Kartę Ateńską, w której znalazły się postulaty dotyczące nowoczesnej zabudowy powstającej w zdrowej, miejskiej przestrzeni. Odbywając podróże studialne po Europie, Le Corbusier pogłębiał swoje doświadczenie zawodowe, które wykorzystał w projekcie tzw. „Jednostki Mieszkaniowej” (Uni

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Van Faassen, Sjoerd, and Herman Van Bergeijk. "Theo van Doesburg and Le Corbusier." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 62–101. http://dx.doi.org/10.4995/lc.2023.19945.

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Theo van Doesburg (1883–1931), the founder of De Stijl, once wrote: “As far as architecture is concerned, one can speak of modern architecture up to and after 1923”[1]. This was not a direct reaction to Le Corbusier's Vers une architecture (1923), Van Doesburg and the young architect Cornelis van Eesteren, designed a Maison d'Artiste in the same year that mocked many sound architectural laws. Maison d'Artiste and similar designs can be understood as a confrontation of his ideas on architecture with those of Le Corbusier, with whom he felt in constant competition. With these ideas he attempted,

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Zaknic, Ivan. "Voyage d'Orient: Carnets, La Chaux-de-Fonds et Jeanneret avant Le Corbusier, Le Corbusier, le passé à réaction poétique, Le Corbusier Secret, Les Mains de Le Corbusier, Le Corbusier à Cap-Martin, Le Corbusier." Journal of Architectural Education 42, no. 3 (1989): 49–59. http://dx.doi.org/10.1080/10464883.1989.10758531.

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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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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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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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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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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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Torres Cueco, Jorge. "Tim Benton. The Painter Le Corbusier: Eileen Gray's Villa E 1027 and Le Cabanon." LC. Revue de recherches sur Le Corbusier, no. 9 (March 27, 2024): 228–29. http://dx.doi.org/10.4995/lc.2024.21282.

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Coincidiendo con el cincuenta aniversario del fallecimiento de Le Corbusier, Tim Benton escribió Le Corbusier, peintre à Cap-Martin (Éditions du Patrimonie, 2015), que fue objeto de una reedición seis años después, también en francés. Sobre esta villa también ha publicado Cap Moderne. Eileen Gray and Le Corbusier. Modernisme by the Sea (2022) y ha colaborado en la antología E1027. Restoring a House by the Sea (2022). Con esta nueva versión inglesa viene a completar la difusión de este valioso libro que incide en una reconsideración crítica de la figura de Le Corbusier.

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Bodei, Silvia. "Le Corbusier Biólogo." Dearq, no. 4 (July 2009): 24–37. http://dx.doi.org/10.18389/dearq4.2009.03.

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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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Naegele, Daniel. "Drawing-over: une vie decantée. Le Corbusier y Louis Soutter." Ra. Revista de Arquitectura 6 (May 11, 2018): 43–54. http://dx.doi.org/10.15581/014.6.25940.

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Louis Soutter, primo de Le Corbusier, era un afamado violinista que, al final de su vida, fue internado en un sanatorio suizo. Soutter amaba dibujar. Sus figuras humanas, lascivas y alargadas, flotan juntas como un fluido, extendiéndose de arriba a abajo y de margen a margen, decorando cualquiera de las superficies que Soutter cubría. Cuando Le Corbusier dio a Soutter copias de sus afamados libros, rápidamente ‘sobredibujó’ en sus imágenes. Sus dibujos no anulaban el texto visual, sino que lo comentaban. Resultaba una intrigante dialéctica. En un artículo de 1936 de la revista Minotaure, Le Co

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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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Eamvijit, Suriyaporn. "Modernism and the Gender Trouble: Techno-Utopia and Gender Politics in the 20th Century Design." Journal of Architectural/Planning Research and Studies (JARS) 20, no. 1 (2022): 55–72. http://dx.doi.org/10.56261/jars.v20i1.249560.

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Among prominent figures in the architectural field of the twentieth century, Le Corbusier was undoubtedly the most renowned. His key writing Vers Une Architecture (Towards a New Architecture) was received with praise and has been regarded as the manifesto of modern and contemporary architecture ever since. His projects have become symbols of the end of the old regime and the possibility for a new democratic society. However, his revolutionary mission apparently diminishes gender issues. Although there is extensive research about Le Corbusier’s works, only a few investigated the gender aspects

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Bruez, M., B. Gandini, and D. Groux. "LE CORBUSIER’S APARTMENT-STUDIO : 3D MODEL DATA OF PRELIMINARY RESEARCH FOR THE RESTORATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 285–91. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-285-2019.

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<p><strong>Abstract.</strong> Fondation Le Corbusier and A-BIME have collaborated to collect, analyse and organize preliminary research data for the restoration of the Le Corbusier’s apartment-studio in Paris using a methodology based in a 3D model. This work, developed by A-BIME since 2014, has been financed by Fondation Le Corbusier thanks to a “Keeping it modern Grant”, giving by the Getty Foundation. The aim is to have faster and easier access to various data of the building by using a clear and documented digital graphic document.</p><p>For each step, the arc

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Carapiá Lima Baptista, Mg Arq Piero. "Vers un Nouveau Continent." ARQUISUR, no. 9 (July 11, 2016): 30–43. http://dx.doi.org/10.14409/ar.v0i9.5799.

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Diversas investigações buscaram avaliar os impactos de Le Corbusier no meio profissional sul–americano. Muitas dessas centraram–se nas influencias de suas viagens a América do Sul (1929, 1936, 1947, 1949, 1950, 1951 e 1962); na divulgação do ideário corbusiano por arquitetos latino–americanos que realizaram estágios profissionais com Le Corbusier e; nos projetos propostos pelo Mestre para o continente. Outro caminho, pouco explorado, objeto deste artigo, será: por um lado, a análise dos artigos publicados nas revistas especializadas sul–americanas pelo próprio Le Corbusier ou por profissionais

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Ducros, Françoise. "L’Art décoratif d’aujourd’hui de Le Corbusier. Polémique et théorie critique de « l’aile gauche » de Vers une Architecture." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 116–35. http://dx.doi.org/10.4995/lc.2023.20048.

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Avec L’Art décoratif d’aujourd’hui, Le Corbusier a publié en 1925 l’un de ses livres séminaux sur un sujet particulièrement complexe et aporétique dans un contexte d’affrontements et d’échanges nationaux et internationaux. Dans cette seconde partie, il s’agit de s’interroger sur les soubassements et les orientations de la polémique ouverte par la préparation de l’Exposition internationale des arts décoratifs et industriels modernes tout en convoquant, au-delà des difficultés d’interprétation de l’ouvrage, les éléments de l’apport corbuséen à l’approche théorique critique de son champ de pensée

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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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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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Boone, Veronique, and Gregorio Carboni Maestri. "The Corb Legagy. A conversation with Kenneth Frampton." LC. Revue de recherches sur Le Corbusier, no. 4 (October 1, 2021): 132. http://dx.doi.org/10.4995/lc.2021.15794.

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<p>Esta entrevista se realizó el 6 de septiembre de 2019 con Kenneth Frampton, Ware Professor à la Graduate school of architecture, planning, and preservation, Columbia University of New York. Esta conversación forma parte de una serie de entrevistas con destacados historiadores y arquitectos que marcan la primera generación de estudios sobre la figura y la obra de Le Corbusier, realizada con el apoyo de la Fundación Le Corbusier. Este intercambio filmado y transcrito cuestiona el terreno en el que Kenneth Frampton ha estudiado a Le Corbusier e integrado la obra del arquitecto en su inve

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Martinelli, Patrizio M. "House, Street, City: Le Corbusier’s Research Towards a New Urban Interior." Interiority 2, no. 2 (2019): 129–53. http://dx.doi.org/10.7454/in.v2i2.57.

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Le Corbusier’s investigations, conducted between the 1910s and the 1930s, were focused on a new relationship between street and building. This research started from texts about the city, in particular, the writings of Eugène Hénard’s. These essays, dating back to 1903-1909, dealt with the necessity of a renewed strategy for the urban street, breaking down the monotony and the problems related to the sequence of buildings and creating a series of places as squares, gardens, and open courtyards: actual urban rooms between streets an buildings. Learning from those texts, Le Corbusier worked on a

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Outmoune, Nadjat, and Abdelmalek Arrouf. "The Design Process at Le Corbusier, Case of the Ronchamp Chapel." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (2019): 1275–82. http://dx.doi.org/10.1017/dsi.2019.133.

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AbstractThis work falls within the empirical studies of design activity. Its project is to understand Le Corbusier's designing way and how does he work and structure his design processes. Doing so, it jumps above the descriptive and doctrinal knowledge of objects produced by “Le Corbusier” to study the actions and mechanisms that led to them.To achieve its aim, this study uses genetic method, developed by P.M. De Biasi of literary origin, this research method is made of three stages. The first one, which is of empirical nature, is one of data gathering. It leads to the establishment of genesis

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Dawes, Michael J., Michael J. Ostwald, and Ju Hyun Lee. "The Mathematics of ‘Natural Beauty’ in the Architecture of Andrea Palladio and Le Corbusier: An Analysis of Colin Rowe’s Theory of Formal Complexity Using Fractal Dimensions." Fractal and Fractional 7, no. 2 (2023): 139. http://dx.doi.org/10.3390/fractalfract7020139.

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In a famous architectural discussion, Colin Rowe links the geometric properties of two sixteenth century villas by Andrea Palladio and two twentieth century villas by the architect Le Corbusier. Rowe observed that different structural systems produced heightened geometric complexity in cross sections through Palladio’s villas and in Le Corbusier’s plans. Rowe also described a particular type of geometric scaling in portions of the four villas which he partially explains as a type of mathematical ‘natural beauty’ akin to the golden ratio and Fibonacci sequence. In his writings, Rowe refers to s

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Mantilla Salgado, José Miguel. "La experiencia formativa de Le Corbusier en Viena. 1907-1908." LC. Revue de recherches sur Le Corbusier, no. 8 (September 29, 2023): 102–17. http://dx.doi.org/10.4995/lc.2023.19865.

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Le Corbusier residió en Viena entre los meses de noviembre de 1907 y marzo de 1908. Durante aquel periodo se alejó del pensamiento romántico, pero pesimista y conservador de John Ruskin, para acercarse a los designios liberales y optimistas que sellaron la última fase del Romanticismo alemán. Ruskin proclamaba la renuncia al progreso y abogaba en defensa de los valores culturales del pasado medieval. Los germanos Gottfried Semper y Richard Wagner afirmaban, por otro lado, la lucha contra las convenciones y posaban la mirada en el futuro, con optimismo y gran admiración por la tradición clásica

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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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O’Byrne, María Cecilia. "¿Herederos de Le Corbusier?" Dearq, no. 14 (July 2014): 169. http://dx.doi.org/10.18389/dearq14.2014.13.

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Salas, Philip Weiss. "¿Dónde está Le Corbusier?" Dearq, no. 15 (December 2014): 195. http://dx.doi.org/10.18389/dearq15.2014.15.

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Dynes, Wayne R. "Medievalism and Le Corbusier." Gesta 45, no. 2 (2006): 89–94. http://dx.doi.org/10.2307/25067133.

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Jeannot, Gilles. "Le Corbusier et Paris." Vingtième Siècle, revue d'histoire 17, no. 1 (1988): 109–10. http://dx.doi.org/10.3406/xxs.1988.1965.

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Högner, Bärbel, and Jürg Gasser. "Chandigarh beyond Le Corbusier." Roadsides 004 (September 2020): 33–42. http://dx.doi.org/10.26034/roadsides-202000405.

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Jeannot, Gilles. "Le corbusier et Paris." Vingtième Siècle. Revue d'histoire, no. 17 (January 1988): 109. http://dx.doi.org/10.2307/3768801.

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Bovati, Marco, and Martina Landsberger. "Le Corbusier cinquant'anni dopo." TERRITORIO, no. 80 (May 2017): 48–49. http://dx.doi.org/10.3280/tr2017-080008.

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