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Letteratura scientifica selezionata sul tema "Promenade architecturale"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 3 febbraio 2022

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Articoli di riviste sul tema "Promenade architecturale"

1

Carrau Carbonell, Teresa, Ignacio Bosch Reig, and Alberto Burgos Vijande. "La Villa Bianca de Terragni. Panorámica temporal de una promenade architecturale." EGA Revista de Expresión Gráfica Arquitectónica 25, no. 40 (2020): 230. http://dx.doi.org/10.4995/ega.2020.14571.

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<p>Durante su corta pero brillante carrera profesional, Terragni realizó algunos ejercicios residenciales, entre los que destaca la Villa Bianca en Seveso. A través de los dibujos del arquitecto racionalista, comprenderemos que verdaderamente la forma es el resultado de la función, que la envolvente responde a la resolución de las necesidades del hombre. Se analiza el estado inicial de la villa a través de la planimetría original, donde encontraremos las claves de esta villa, su evolución en el tiempo a través de la documentación gráfica inédita del arquitecto que la restauró y su estado actual mediante la experiencia de la visita in situ. Mediante el análisis comparativo de las planimetrías de las distintas épocas descubriremos cuál es su estado de conservación como patrimonio arquitectónico del Movimiento Moderno.</p>

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2

Arnold, Felix. "Das Landhaus des Marqués de Murrieta bei Córdoba." Architectura 47, no. 1-2 (2019): 132–45. http://dx.doi.org/10.1515/atc-2017-0008.

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AbstractThe architecture of Spain of the 1920s and 1930s remains a little studied aspect of the emergence of the modern movement. In 1926 –1931 the architects Carlos Arniches and Martín Domínguez, both prominent members of the so called ›Generación del 25‹, constructed a country estate near Córdoba for the Marqués de Murrieta. The remains of the now lost villa and garden have recently been investigated by the German Archaeological Institute, as part of a comprehensive study of the 10th century Islamic palace on which the estate had been built. The singular design of the building attests to the search for a new style of architecture based on the ›honest‹ rural architecture of Andalusia, as called for by Fernando García Mercadal and others. The design of a promenade architecturale moreover hints at the innovative potential of the architects and their contribution to the modern movement in Spain.

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Saldarriaga Sierra, Juan Alejandro. "“No es simplemente la promenade architecturale”: interpretaciones sobre Le Corbusier y Rogelio Salmona." Dearq, no. 15 (December 2014): 116–29. http://dx.doi.org/10.18389/dearq15.2014.09.

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4

KYONNE JINHYUN. "Etude sur les caractéristiques d’application de la Promenade architecturale de Le Corbusier dans l’architecture de Rem Koolhaas - Villa Savoye et Kunsthal -." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 27 (2013): 43–66. http://dx.doi.org/10.18022/acfco.2013..27.002.

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5

Martin, Carole. "La promenade architecturale de Mélite : initiation au libertinage ou démonstration de savoir-vivre dans la petite maison de Jean-François de Bastide." Dix-huitième Siècle 36, no. 1 (2004): 523–45. http://dx.doi.org/10.3406/dhs.2004.2635.

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6

Aliaga, Maribel, and Mariana Figueiredo Sobral Torres. "Alô! Tem alguém aí?" Paranoá: cadernos de arquitetura e urbanismo, no. 24 (March 8, 2020): 109–26. http://dx.doi.org/10.18830/issn.1679-0944.n24.2019.10.

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“Ei! Tem alguém aí?”, do autor norueguês Jostein Gaarder, dá origem a adaptação para um curta-metragem de mesmo nome. Na história, Joaquim é um menino de oito anos que está prestes a ganhar um irmãozinho. Na noite da chegada do bebê, ele fica sozinho em casa e recebe uma visita inesperada do pequeno extraterrestre Mika, que cai dos céus, direto no seu jardim. Aqui, a casa representa em sua composição formal uma expressão desse olhar, e desenvolvê-lo é o ponto chave desse projeto. Para criar a casa do Joaquim, foram necessárias algumas etapas de estudo. Primeiramente uma investigação sobre a relação arquitetura/cinema, com foco no percurso e na relação entre essas duas linguagens artísticas, estudando a montagem de Sergei Eisenstein e a promenade architecturale de Le Corbusier. Casas dentro e fora das telas também serviram de inspiração. E, finalmente, tudo foi alinhavado sob a perspectiva da criança e a relação do desenho bidimensional como uma forma de expressão que muito se relaciona com a do cinema e seu conceito de montagem. O cenário é resultado final do trabalho, e surge a partir do roteiro como programa de necessidades para a ambiência da casa, e da relação de Joaquim com o mundo.

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Pjesivac, Zeljka. "Architectural promenade as scene of writing: the Jussieu library (1992) by Oma/Rem Koolhaas." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 431–38. http://dx.doi.org/10.2298/fuace160930033p.

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This study investigates implementation of the conceptual and textual techniques associated with poststructuralism (such as the poststructuralist concepts of writing, text, intertext, discoursive practices) in Rem Koolhaas's project the Jussieu Library (1992) planned within the Sorbonne University complex in Paris. The main hypothesis of the study is that Koolhaas produces in the project for the Jussieu Library transgression of language of modernistic architecture conceiving the concept of architectural promenade as a scene of writing. In other words, from the understanding of the concept of architectural promenade as a self-reflexive, abstract and autonomous concept, we move to the understanding of the architectural promenade as culturally dependent, but also for culture and society determinant concept. How does Koolhaas embody operative ideological practices of post-structuralism in the case of the Jussieu Library? How can we understand the concept of architectural promenade as a scene of writing? In other words, how can we understand the architectural promenade as a field of lines of deterritorialization and reterritorialization of different narratives, discourses, ideologies, contexts? What role could this concept of the architecture have in a society? In a theoretical context the study draws on the investigations of: Jacques Derrida, Michael Foucault, Joseph Beuys, Gilles Deleuze and F?lix Guattari.

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Samuel, Flora, and Peter Blundell Jones. "The making of architectural promenade: Villa Savoye and Schminke House." Architectural Research Quarterly 16, no. 2 (2012): 108–24. http://dx.doi.org/10.1017/s1359135512000437.

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The term ‘architectural promenade’ has become a part of the language of modern architecture, yet it has been little discussed or investigated. We find it insufficient as a generic term to express a concern with the experience of moving through a building, for the promenade can mean different things to different people. To illustrate this point we make a comparison of the promenade in the Villa Savoye by Le Corbusier – perhaps the promenade par excellence – and that of the almost contemporary Schminke House by Hans Scharoun. We have found many distinct differences. The emphasis in this essay is on the meaning and manipulation of space, something of deep concern to both architects and a topic that each of us has explored separately elsewhere.

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Masson, Alain. "An architectural promenade." Continuum 5, no. 2 (1992): 159–66. http://dx.doi.org/10.1080/10304319209388232.

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Stickells, Lee. "Conceiving an architecture of movement." Architectural Research Quarterly 14, no. 1 (2010): 41–51. http://dx.doi.org/10.1017/s1359135510000564.

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Ideas about movement were fundamental for Modernist architecture of the early twentieth century and are ubiquitous in contemporary theory and practice. The shifting theoretical terrain in which bodily movement is made sense of has continuously produced different understandings of architectural possibilities. For example, where in much early Modernism, and in present conventional practice, movement is often articulated in terms of technical, functional circulation and narrativised aesthetic experience (the architectural promenade), other recent practices adopt more ambivalent approaches. The emphasis in these later practices is on the relationality of programmatic elements, articulated in terms of dynamic coexistence, continual variation and fluid, interconnected space. In this way, they connect to a pervasive concern with mobility in the late twentieth, and early twenty-first century: culture is increasingly seen as dynamic and hybrid, societies are defined through complex webs of interconnection, and social theory is focused on the nomadic. In this context, examining changing conceptions and structuring of bodily movement within architecture provides a means for productively reengaging with modern architectural history.

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Tesi sul tema "Promenade architecturale"

1

Jenkins, Megan. "Viewpoints: Visual Narratives in the Promenade Architecturale." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378109196.

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Bezuidenhout, Lorinda. "Urban [i]scape : information centre." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11262008-222534.

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3

Niu, Yanfang. "La promenade architecturale chez Le Corbusier : une méthode pour penser l'architecture : genèse, application et évolution (1907-1939)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H036.

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La « promenade architecturale », expression inventée par Le Corbusier en 1929, à l’occasion de la publication du premier volume de l’Œuvre Complète, représente un concept clé corbuséen parmi les plus fréquemment évoqués. En suivant les pistes tracées par l’utilisation du terme «promenade architecturale» par l’architecte lui-même, sans s’y limiter toutefois, notre étude vise à clarifier la genèse, l’application et le développement de ce concept. Une méthodologie constituée de trois approches — historique, projectuelle et textuelle — est adoptée afin de mesurer son évolution de 1907 à 1939. La période de formation de l’architecte (1907-1915), constitue le champ d’observation de ses principales sources d’inspiration. Les débuts de la carrière de Charles-Édouard Jeanneret à La Chaux-de-Fonds depuis son retour du Voyage d’Orient en novembre 1911, son installation à Paris en janvier 1917, et la première décennie de la carrière de Le Corbusier (1920-1929), fournissent les pistes utiles à éclairer sa mise en place à l’échelle des maisons individuelles. L’«ère des grands travaux » (1929-1939) témoigne, enfin, de son développement et de sa mutation, particulièrement dans une suite d’études consacrées au musée. Cette dernière phase marque l’apogée de la promenade architecturale et présage de sa disparition textuelle dans la carrière corbuséenne de l’Après-guerre. Loin d’être une simple formule esthétique, la promenade architecturale se développe sur la base d’un croisement de diverses sources d’inspiration — peinture, art de bâtir les villes, littérature, cinéma et architecture — et à partir d’une fusion entre expériences de perception et de conception. Elle constitue ainsi une méthode fondamentale et spécifique de Le Corbusier pour penser l’architecture, qui le distingue des précurseurs et d’autres figures de proue du Mouvement moderne<br>The promenade architecturale, an expression invented by Le Corbusier in 1929 when the first volume of L’Œuvre complète was published, represents one of the most frequently mentioned key concept of Le Corbusier. By following the paths traced by the uses of the term promenade architecturale by the architect himself, without limiting ourselves to them, our research aims to clarify the genesis, the implementation and the development of this concept. A methodology consisting of three approaches — historical, project-based and textual — has been adopted in order to evaluate how it evolved bet-ween 1907 and 1939. The formative years of the architect (1907-1915) constitutes a field to observe his main sources of inspiration. The early career of Charles-Edouard Jeanneret at La Chaux-de-Fonds, dating from the return of the young architect from the Voyage d’Orient to his departure for Paris in 1917, and the first decade of the career of Le Corbusier (1920-1929), provide helpful indices to understand how this concept was put into practice on private houses. At last, the ère des grands travaux (1929-1939) constitutes a testimony to the development of this concept, and is a witness of its mutation particularly along a series of studies that Le Corbusier devoted to museums. This last phase marks the peak of the promenade architecturale and announces its disappearing from Le Corbusier’s written work in his postwar career. Far from being a simple aesthetic formulation appeared accidentally, the promenade architecturale was developed on the basis of an action of crossing varied sources of inspiration — painting, art of building cities, literature, cinema and architecture —, and was deduced from a fusion of perceptive and conceptual experiences. Thus, it constitutes Le Corbusier’s fundamental and specific method for thinking architecture, which makes him stand out from his precursors and from other prominent characters of the Modern Movement

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Bubb, Cynthia Lynne. "Sequence as Structure: Ordering the Body, Space and Architecture." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155843083.

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Thesis (Master of Architecture)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed Oct.10, 2006). Includes abstract. Keywords: sequence; cinema; tschumi; manhattan transcripts; promenade architecturale; situationists; ferry terminal; boston Includes bibliographical references.

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Selva, Pamela, and Oana Damsa. "Atene citta universale. Progetto per una migliore fruibilita di accesso all'Acropoli e ai suoi percorsi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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L'Acropoli di Atene è un sito archeologico di un enorme pregio storico, artistico, archeologico. Il progetto si pone come obiettivo di ridare valore all'area di accesso all'ingresso dell'Acropoli valorizzando le preesistenze ambientali e storiche. L'intenzione primaria della tesi è di fruire un'accessibilità democratica. Il progetto dell’area ha permesso di delineare una nuova visione del territorio in termini sia di nuovi servizi. A seguito di un’analisi dettagliata del sito, nella seconda parte del percorso di tesi abbiamo deciso di affrontare il tema dell’ingresso all’Acropoli di Atene. Negli anni Trenta l’area ha subito un importante intervento su grande scala ad opera dell’architetto Dimitris Pikionis, che l’ha trasformato notevolmente rendendo il sito prettamente pedonale e non più carrabile. Una strada costituita da due tratti serpeggianti che salgono rispettivamente lungo i pendii dell’Acropoli e del Colle di Filopappo, entrambi con una loro funzione specifica, comprendono aree di sosta e punti strategici di osservazione sulla città e l’Acropoli stessa. Realizzata senza seguire schemi specifici, Pikionis ha qui dato vita ad uno dei più grandi ed importanti interventi del Novecento

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6

Bersch, Danielle. "A Promenade for Isolation." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23673.

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This building emerges as a solitary work from obscurity. Its form is a composition of disjointed rooms connected by common themes: frontality, obscurity, artifice, and seclusion.<br /><br />In the first part, the plan appears as a map of a promenade which is the main ordering device of the building structure.<br /><br />In the second part, the internal spaces are presented as isolated from each other as is the building from any external reference.<br /><br />In the sections, which constitute the third part, the building appears as layered facades emerging from planes of strata.<br>Master of Architecture

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Perglová, Iveta. "Městská památková rezervace Kroměříž – architektonicko–urbanistické řešení vybrané lokality." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2014. http://www.nusl.cz/ntk/nusl-216106.

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This thesis focuses on developing an architectural study modifications of selected localities in the urban reserve Kroměříže. The proposal respects the regulatory plan and conservation requirements. The selected street Vejvanovského function has been selected, addressed a formal operational connection with the immediate surroundings, including urban interior green. In addition an architectural study of three selected newly designed buildings with regard to the historical picture of the urban conservation area towns.

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Roggenkamp, Chrystal R. "Spatial Promenades: Sequential Experiences in Space and Time." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306499060.

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Deganutti, Paola Souza Gomes. "Promenade littéraire: excursões arquiteturais em O Corcunda de Notre Dame." Universidade Estadual de Ponta Grossa, 2018. http://tede2.uepg.br/jspui/handle/prefix/2515.

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Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-05-22T11:55:06Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Paola Souza Gomes.pdf: 1346915 bytes, checksum: 3fe4f222e1c4f1b330657f9e63325f76 (MD5)<br>Made available in DSpace on 2018-05-22T11:55:06Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Paola Souza Gomes.pdf: 1346915 bytes, checksum: 3fe4f222e1c4f1b330657f9e63325f76 (MD5) Previous issue date: 2018-03-26<br>Não é de hoje que as relações entre Literatura e Arquitetura são exploradas por estudiosos de diferentes áreas do conhecimento. Ambas as práticas, cada uma ao seu modo, buscam relatar o espírito de seu tempo, testemunhando, em papel ou pedra, as memórias de sua época. Seus entrecruzamentos, portanto, se mostram frutíferos pela possibilidade de visualizar as distintas formas de narrativas contidas em cada uma delas. Em seu romance de estreia, O Corcunda de Notre Dame, Victor Hugo estabelece essas relações dentro do corpo da narrativa, explorando espaços arquitetônicos e urbanos e potencializando seus efeitos nas personagens. O objetivo deste trabalho é apontar as relações possíveis entre a obra hugoana e o espaço arquitetônico, uma vez que as descrições espaciais contidas no romance possibilitam o desenvolvimento da narrativa e, em uma leitura menos superficial, revelam-se também como instrumentos de teorização. Em última análise, compreende-se o romance também como material teórico e crítico para o campo da arquitetura. A fim de embasarmos nossa análise, fazemos uma exposição teórica acerca dos conceitos de espaço, tanto de maneira geral, com leituras do campo da geografia, filosofia e arquitetura, quanto dentro do campo literário. Após isso, apontamos as relações possíveis entre literatura e espaço arquitetônico sob a ótica de autores como Ángel Rama (1998) e Paul Ricoeur (1998). Ao fim, valemo-nos do método da Topoanálise, de Ozíris Borges Filho (2007), na leitura de O Corcunda de Notre Dame. O fato de não haver uma definição unívoca e definitiva para a ideia de espaço, uma vez que é ao mesmo tempo concreto e abstrato, relativo e absoluto, faz com que a literatura seja uma forma interessante de representá-lo e, mesmo que em partes, tentar apreendê-lo.<br>It is not new that the interaction between Literature and Architecture is explored by many scholars from a large number of different subject areas. Both practices, each one in its own way, intends to report the spirit of their time, attesting the memories by paper or stone. Their intersection reveals itself fertile by the possibility to see distinct storylines in each one of them. In his debut romance "The Hunchback of Notre Dame", Victor Hugo establishes those interactions on the narrative, exploring architectural and urban spaces, intensifying the effects on the characters. The main objective of this work is to reveal the possible relationship between the "hugoana" ouevre and the architectural space, as those spatial descriptions appearing on the ouevre make possible the narrative's development and, in anon-superficial reading also reveals itself as a theorization device. Ultimately, the ouevre is also taken into account as a theoretical content and critical to the architecture field. In order to lay the foundation of the analysis, it was made a theoretical explanation about the concepts of space, using geographical, philosophic and architecture readings, as much as the literary domain. Straight away, it was indicated the possible relations between literature and the architectural space taking into consideration the Ángel Rama (1998) and Paul Ricoeur (1998) points of view. At the end, it is used the "Topoanálise" method, by Ozíris Borges Filho (2007) in "The Hunchback of Notre Dame" reading. The fact that there is not a single and permanent definition to the idea of space, once that is at the same time concrete and abstract, relative and absolute, make the literature an interesting way of representing it, and, even if in parts, a manner of apprehend it.

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Dedenroth, Høj Louise. "Exploring the potentials of dementia village architecture." TUDpress, 2019. https://tud.qucosa.de/id/qucosa%3A36682.

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This paper is exploring dementia village architecture as a new architectural model, addressing the dementia care challenge, and linking it to the continuous process of deinstitutionalization, as a broader political, social, and cultural project. The paper will investigate the specific challenges and opportunities of the village model, through a case study of two exemplar cases of this model, asking, what are the properties of ‘villageness’, and to what degree are they each responding to an idea of ‘villageness’? This is explored through different scales of the village, going from ‘part’, to ‘relation between parts’ and ‘whole’, investigated through themes, related to the dementia care challenge; domestic interior, promenade, and community.

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Libri sul tema "Promenade architecturale"

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Stening, Jenny. Gustavia, Saint Barthélemy: Promenade architecturale historique = architectural historic walk = arkitekturhistorisk promenad. Berghede arkitektur och design], 2008.

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Paolo, Portoghesi, ed. Promenades architecturales. P. Lubrina, 1987.

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Buseva-Davydova, I. L. Promenades architecturales dans Moscou. Editions Flies France, 1996.

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Promenades romaines. Lethielleux, 2003.

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Cavalier, Philippe. Une promenade magique dans Paris. Carrière, 2010.

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Vichy: Invitation à la promenade. Lieux dits, 2010.

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1932-, Vranckx Georges, ed. 16 promenades dans Venise. Editions universitaires, 1987.

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Coster, Léon de. 16 promenades dans Florence. Editions universitaires, 1990.

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Coster, Léon de. 16 promenades dans Vienne. Casterman, 1992.

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Coster, Xavier de. 17 promenades dans Barcelone. Casterman, 1992.

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Capitoli di libri sul tema "Promenade architecturale"

1

Holmes, Amanda. "The Architectural Promenade and the Cinematic Window in El hombre de al lado." In Politics of Architecture in Contemporary Argentine Cinema. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55191-3_7.

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"Promenade architecturale / Promenade architecturale." In Le Corbusier. Die Kapelle von Ronchamp / La Cappella di Ronchamp. Birkhäuser, 1997. http://dx.doi.org/10.1515/9783035604115.12.

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"Die «Promenade architecturale» / La «passeggiata architettonica»." In Le Corbusier. Die Kapelle von Ronchamp / La Cappella di Ronchamp. Birkhäuser, 1997. http://dx.doi.org/10.1515/9783035604115.29.

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4

Vidler, Anthony. "The Eisenstein Effect." In The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.003.0005.

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This chapter analyzes the confluence in thinking about cinematic and architectural montage in the work of the Russian filmmaker Sergei Eisenstein and the Swiss architect Le Corbusier. It describes their encounter in Moscow in 1928 and their shared admiration for the French architectural historian Auguste Choisy, whose description of spatial passage through the Athenian Acropolis is a key point of reference in the accounts the filmmaker and the architect develop of the role of narrative, movement, and editing in the apprehension of space. Although Le Corbusier’s promenade architecturale is the manipulation of a body moving through actual space according to precise calculations of a visual sequence, the cinematic version, as staged by Corbusier and Chenal, faced the viewer with a surrogate or avatar body moving through space, but never presented the viewer with the scenes viewed by this body: an invisible, one might say ineffable merging of architecture with the image of an invisible architecture as a projection of a static viewer. Architecture in this sense achieves the status desired of the modernist machine universe, but in the process has been reduced to two dimensions, without perspective. Eisenstein, for his part, was in this sense able to “build” an architecture in film—not the imperfect static forms that one had to walk through or work hard to imagine their ecstatic movement, but through the moving image itself understood as the highest technological achievement of modernism, thus achieving the (ecstatic) dissolution, in image, of modernist architecture.

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"Architectural Promenade." In The Visual Dictionary of Interior Architecture and Design. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0011.

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6

"‚Promenades architecturales‘." In "Spazieren muss ich unbedingt". Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846763773_016.

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7

"Elements of the architectural promenade." In Le Corbusier in Detail. Routledge, 2007. http://dx.doi.org/10.4324/9780080550626-11.

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8

Porfiri, Francesca. "Interpretative Reading of an Illusory Painted Wall." In Advances in Media, Entertainment, and the Arts. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch017.

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This study concerns architectural representation, and it focuses on the Quadratura issue: an illusory architecture painting where perspective creates the illusion of spatial depth on a flat surface. The main subject of this work is the study of the perspective scenes frescoed in the yards of historical building, during the 18th century in northern Italy, especially in Bologna; they represent architectural scenes, placed at the end of a promenade through the building. One of the most interesting example of these perspective frescoes in Bologna has been designed in 1761 by Antonio Galli Bibiena in Palazzo Vizzani's yard. This study aimed to approach a digital 3D-reconstruction of the scene, based on an accurate documentation and a combination of architectural survey techniques. Finally the digital reconstructed scene can be video-projected on the wall: it can simulate a viewer's eye guided across the building towards and inside the scene.

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Samuel, Flora. "1.5 Architectural Promenades through the Villa Savoye." In Architecture and Movement. Routledge, 2014. http://dx.doi.org/10.4324/9781315764771-7.

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10

Kristiánová, Katarína. "Promenade as Landscape Architecture Strategy for Riverbanks of Small Danube Cities: Komárno and Štúrovo." In Landscape Architecture - The Sense of Places, Models and Applications. InTech, 2018. http://dx.doi.org/10.5772/intechopen.72921.

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Atti di convegni sul tema "Promenade architecturale"

1

Chinalha, Ana, and Ana Florio. "Casas com rampas desenhadas por Le Corbusier e a promenade architecturale." In Congresso de Iniciação Científica UNICAMP. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/revpibic2720191876.

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Colonnese, Fabio. "Le Corbusier and the mysterious “résidence du président d’un collège”." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.774.

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Abstract: At the very end of his travel to United States, Le Corbusier conceived and designed a modern villa that he lately inserted in the third volume of his Oeuvre Complete with the title ‘Résidence du président d’un college près Chicago’ and few words below describing it. He interpreted a simple request for suggestions by Joseph Brewer, the president of the Olivet College, Michigan, into an actual commission for a new house that responded to the kind of works he expected from his American admirers. He possibly designed it in a few hours’ time from Kalamazoo to Chicago but the autograph hand-drafted plans and bird’s-eye perspective view in the Oeuvre Complete congruently describe a well-thought project showing a number of affinities with his most celebrated European houses. The villa can be considered as an aware modular assemblage of parts that he had previously designed or even built, tied together by a long and suggestive promenade architecturale, to offer the “timid” American people a sort of full scale model to introduce them to his vision of modern life. By analyzing Le Corbusier’s sketches and conjecturing both dimensions and missing elements from previous designs, a threedimensional digital model has been elaborated to virtually visit the résidence and understand its fictive and educational value. Keywords: Le Corbusier; Joseph Brewer; Olivet College; Promenade architecturale; Intertextuality; Digital Model. DOI: http://dx.doi.org/10.4995/LC2015.2015.774

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Barneche-Naya, Viviana, and Luis A. Hernández-Ibáñez. "EMULATION OF HUMAN ATTENTION FOR EXPLORATION OF VIRTUAL ARCHITECTURAL ENVIRONMENTS. APPLICATION TO LE CORBUSIERS PROMENADE ARCHITECTURALE OF A VIRTUAL VILLE SAVOYE." In International Conference On Interfaces and Human Computer Interaction 2019. IADIS Press, 2019. http://dx.doi.org/10.33965/ihci2019_201906c043.

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4

Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

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Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814

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Miralles Jori, Roger. "FLC 4932. Lo inesperado en la obra de Le Corbusier. Consideraciones en torno al origen de la promenade." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.976.

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Resumen: Entender la evolución de la idea de la promenade en la crítica corbuseriana. Cómo la idea ha ido pasando de la idea del movimiento al pintoresquismo, a lo cinematográfico y finalmente a la idea de montaje. Leyendo Le Corbusier entender que lo mas relevante de la promenade es la idea de lo inesperado para el espectador. Entender de dónde viene esta idea de lo inesperado a través de la formación de Le Corbusier y, sobretodo, a partir de su formación en la crítica del S.XIX. Especialmente importante para entender la idea de lo inesperado es el libro de Mornings in Florence de Ruskin, en especial su descripción de la capilla de los españoles. Esta capilla también será objeto de estudio por Le Corbusier y, en ella, reconoce la importancia de lo inesperado en arquitectura. Abstract: The first objective of this paper is to understand the evolution of the idea of promenade in Le Corbusier’s critic. The paper follows how the idea has changed from the movement to the picturesque, to the cinematographic and finally to the idea of montage. The second objective is to understand that the idea of the unexpected for the spectator is key for the promenade. Then we try to understand where does the idea of the unexpected come in Le Corbusier’s formation with special interest in his formation in the nineteenth century critics. And how important to understand the idea of the unexpected is Ruskin’s Mornings in Florence, specially his description of the Spanish Chapel. This chapel will be case study for Le Corbusier and in his study he recognises the importance of the unexpected in architecture. Palabras clave: Promenade, Espacio inesperado, Formación de Le Corbusier, Viajes de Le Corbusier, Capilla de los españoles. Keywords: Promenade, Unexpected space, Le Corbusier formation, Le Corbusier Travels, Spanish Chapel. DOI: http://dx.doi.org/10.4995/LC2015.2015.976

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De Ortueta Hilberath, Elena. "Nuevas arquitecturas o la protección de las fortificaciones en Tarragona." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11380.

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New architectures or the protection of the fortifications in TarragonaThe conservation of the fortification in Tarragona was not an easy task. In 1884 the Roman wall was declared a National Monument, and in 1966 it was declared a historical and artistic complex. These measures distant in time did not achieve a joint protection of it. This study deals with the transformation of the bastion of Cadenas in the San Antonio Promenade. It is an example of urban speculation during Franco’s developmentalism. Our contribution is the result of an analysis and comparison of various types of documentation: military, engineering command headquarters as well as municipal and state. We demonstrate that the destruction of the bastions was due to the low value given to these defensive structures, which were considered an obstacle to urban expansion and development.

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