Tesi sul tema "Promenade architecturale"

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

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.

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

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

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.

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.

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.

U radu se detaljno istražuju odnosi između funkcije i forme savre-menog stana, kao i promene kroz koje prolazi. Istraživanje je zasnova-no na razumevanju pojmova stana i doma kroz različite diskurse.Multidisciplinarnim pristupom uspostavljene su mnoge istraženeveze između životnih stilova i savremenih informacionih i komuni-kacionih tehnologija, koje utiču na promenu koncepta stanovanja i stva-ranje mnoštva različitih atmosfera stana. Ovo mnoštvo je u radukorišćeno ne samo kao metodološko načelo, već je posmatrano i kaomaterijalno mnoštvo različitih oblika stanovanja koje treba prepo-znati kroz diskurse o stanovanju. Promišljanjem ove pojave shvata seda su singularnosti (npr. stambena jedinica) istovremeno i mnoštva,odnosno da je svaki stan uvek jedno konkretno postojanje, kroz kojestruji (a pogotovo danas) mnoštvo arhitektonskih diskursa.<br>This thesis explores in detail the relationships between function and form ofcontemporary dwelling, as well as the changes it goes through. It is based onunderstanding the notions of the dwelling and home through differentdiscourses. Multidisciplinary approach established many explored connectionsbetween life styles and contemporary Information and CommunicationTechnologies, which affect the change of the concept of a dwelling andcreation of many different atmospheres within a dwelling. This multitude isused here as the methodological principle but is also observed as thematerial myriad of different forms of housing that should be recognizedthrough discourses on dwelling. Reflecting on this phenomenon it is recognizedthat singularities (i.e. dwelling unit) are also multitudes at the sametime, therefore every dwelling is always one concrete existence that hasmany architectural discourses streaming through it, especially today.

Avec l'objectif de comprendre l'imagianire baroque contemporain, nous comparons sous forme de promenade, différents styles d'architecture et nous tentons de cerner l'émotion qui s'en dégage. Nous avons choisi trois lieux. Le premier est nocturne, issu d'un univres mystique; Noto est une ville baroque projetée à la fin du XVIIème siècle. Le second est plutôt diurne, doté de structures schizomorphes; c'est un quartier parisien, Belleville, qui représente les trois âges de la ville classique, moderne et contemporain. Le troisième et dernier lieu évoque un univers plutôt synthétique, placé sous le régime nocturne de l'image ; situé à Recife, le Morro de Conceiçao est un quartier qui a une architecture de croissance organique appartenant à l'âge zéro de la ville. Cet évental de sociétés nous immerge dans l'acte créatif des conceoteurs d'espace qui en génère les symboles<br>With the aim which is to understand the contemporary baroque imagination, we compare walking in cities, different styles of architecture and we try to surround the emotion which frees from them. We chose three places. The first one is nocturnal, issued from a mystical univers. Noto is a baroque city designed at the end of the XVIIs century. The second one is rather daytime, endowed with schizomorphes structures, it is a parisian area; Belleville include the three ages of the town, the classic one, the modern one and the contemporary one. The third and last one evoque a synthetique world put under the nocturnal regime of picture. In the city of Recife, the Morro da Conceiçao is a part of the city which has an organic growth, and which belongs to the age zero of the city. Those differents kinds of societies and spaces lead vs inside the design process used by space planners those spaces which generate symbols

The theme of the diploma thesis "Brno waterfront - rehabilitation of the Brno rivers and their surroundings" is creating an urban proposal in Brno, Zábrdovice, on the eastern waterfront of the Svitava river. The intention is to use the potential of the area and create the possibility of lucrative housing by river with a commercial ground floor, services, leisure time park with a multifunctional playground and easy direct access to the Svitava river. The studied location, has an area of 6.32 hectares andis defined mainly by the Zábrdovická Street and the Svitava River near the former Premonstratensian Monastery, which now serves as a Military Hospital. At present, the location has mainly low-floor industrial buildings with storage and expedition functions. The proposed buildings relate to existing buildings on the east and west banks of the Svitava River. They have the form of four to six storey blocks, which are characteristic for this area. The park connects to the revitalized eastern embankment of the river at the site of a new footbridgethat connects both rive sides and stairs. They provide space formeetings and relaxation, but also serve as a flood control in the event of a water inflow. Along the Svitava River there is a sidewalk with street alleyways and access to the river.

Châteaux bâtis sur une rivière, Azay-le-Rideau et Chenonceau entretiennent des rapports privilégiés avec l’élément aquatique. Comment celui-ci était-il mis en scène dans le cadre du jardin ? Plantés sur des îles naturelles ou artificielles, ces derniers sont-ils le fruit d’une mode ou ont-ils été influencés par des oeuvres littéraires contemporaines ? Le jardin d’île du Songe de Poliphile de Francesco Colonna a-t-il été déterminant dans l’évolution du jardin français de la Renaissance et en particulier dans ceux d’Azay-le-Rideau et de Chenonceau ? La thèse aura pour objectif de préciser leurs caractéristiques (accès, clôture, terrassement, structuration, plantations) dont la place des aménagements hydrauliques dans la mise en scène de l’ensemble château-jardin entre 1513-1560. Nous aborderons également la question de l’importance de la promenade et de la vue sur le paysage autour de la demeure. Puis, nous envisagerons la possibilité que le végétal ait participé à la création d’un discours iconographique dans le parterre de Diane à Chenonceau<br>Built near a river, the casltes of Azay-le-Rideau and Chenonceau have a special relationship with the water element. What relationship did these gardens have with water? How was it used to showcase the garden? Planted on natural or artificial river islands, are these gardens the result of a trend or do they owe their creation to litterary works of their time? Was Francesco Colonna’s Island Garden of the Hypnerotomachia Poliphili determining in the evolution of French Renaissance gardens and particularly at Azay-le-Rideau and Chenonceau? The Phd we are presenting will aim to explain their caracteristics between 1513-1560, including the role of hydraulic constructions in the staging of the whole castle garden. We also will endeavor to study the importance of the question of the promenade and of the view of the landscape around the castle. Then, we will consider the possibility that plants had participated to an iconographic lecture of the « parterre de Diane »

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2015<br>Exame público realizado em 20 de Junho de 2016<br>A presente dissertação centra-se no tema “O Percurso Urbano e a Promenade Architecturale”. Com o decorrer dos anos, tem-se intensificado o esforço para combater as áreas degradadas das cidades e colmatar lacunas referentes às ações tomadas nesse sentido. Para se obterem melhores resultados, neste combate pela melhoria das condições de vida das populações urbanas, é necessária a intervenção dos arquitetos que, através dos seus conhecimentos e técnicas, têm a obrigação de contribuir para uma paisagem mais amiga das pessoas e da natureza, mas têm também a responsabilidade de preservar a memória da Arquitetura intacta no tempo. Conciliar o moderno com a história é um dos desafios com que se depara a arquitetura atual. Esta dissertação foca-se em analisar algumas questões inerentes ao planeamento urbano de uma cidade, e suas demais influências físicas e históricas que recaem sobre “a obra” construída. Este trabalho pretende, então, transmitir a importância do entender o passado e preservar a sua memória, e a necessária conciliação com o presente. Preconiza-se a criação de espaços urbanos modernos, mas em harmonia com o passado, numa salutar metamorfose, que mantém a história e acrescenta a sofisticação das técnicas atuais. Não se pretende a rutura com o passado, mas sim a sua preservação, não abdicando, no entanto, do que o presente oferece. O urbano, enquanto espaço público, deve poder ser lido como um prolongamento de uma promenade oferecida, aos curiosos e românticos, que por si se aventuram. Para uma melhor compreensão do tema selecionado, foram analisadas, como casos de estudo, na presente dissertação, obras como: “o Quarteirão Império”; “Igreja do Sagrado Coração de Jesus” e “Avenida da Liberdade”. Estas obras vão ao encontro das ideias por nós defendidas face ao tema em causa.

Dissertação de mestrado em Arquitectura.<br>Exame público realizado em 3 de Maio de 2017, às 15H30.<br>A Arquitectura encontra no Cinema vários paralelismos que fazem com que estas duas artes se unam, contagiando-se reciprocamente. O movimento no espaço, resultante da introdução do tempo, é um ponto comum que liga estas artes. Esta dissertação procura explicar e demonstrar a relação existente entre a arquitectura e o cinema e o modo como o espectador experiência o espaço quer na arquitectura, quer no cinema, através do movimento. Tanto na Arquitectura como no Cinema a experimentação do espaço em movimento assume diferentes interpretações e significados, dependendo da forma como é percecionado pelo observador. O acto de percorrer o espaço, evidente nestas duas artes, leva a que se faça a associação da noção de Promenade Architecturale, de Le Corbusier na arquitectura, com o conceito Travelling, utilizado no cinema. Neste sentido, pretende-se explicar a relação dos conceitos referidos anteriormente. Os conceitos que unem estas duas artes serão utilizados como categorias de análise no estudo de casos para, posteriormente, serem convertidos em estratégias projectuais. Estas serão aplicadas num ensaio projectual que poderão ser, ainda, extrapoladas a mais objectos. Para isso, serão estudados obras de arquitectos com discurso cinematográfico, e cineastas com interesse na arquitectura, bem como as suas obras, que partilham teorias e conceitos.<br>Architecture finds in cinema several parallels that cause these two arts to unite, affecting. The movement in space, as a result from the introduction of time, is a common point connecting these arts. This dissertation seeks to explain and demonstrate the relationship between architecture and cinema and how the spectator experiences space in architecture and cinema through movement. Both in Architecture and Cinema the experimentation of space in movement assumes different interpretations and meanings, depending on the way it is perceived by the observer. The act of traveling through space, evident in these two arts, leads to the association of the Promenade Architecturale concept by Le Corbusier’s architecture, with the Traveling concept, used in cinema. In this subject, it is intended to explain the relation of the previously mentioned concepts. The concepts that unite these two arts will be used as categories of analysis in the study cases to later be converted into projectual strategies. These will be applied in a project that can be extrapolated to other objects. For this, it will be studied works by architects with cinematographic discourse, and filmmakers with an interest in architecture, as well as their works, which share theories and concepts.

Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e Tecnologia<br>A presente dissertação visa refletir sobre o contributo do cinema no processo de pensar e criar arquitetura. Explora-se a capacidade que o cinema tem de nos confrontar sensorialmente com novos espaços por via das suas imagens em movimento e, na sequência deste confronto, a forma como a mente humana processa e arquiva estes espaços no interior do seu sistema cognitivo. É feita uma análise que compara a apreensão visual do espaço que nos chega por via do cinema com a perceção terrena resultante do contacto direto com o espaço, buscando-se assim, relacionar a viagem com o ato de ver cinema.Como forma de viabilizar esta premissa, a investigação desdobra-se sobre dois casos representativos como os filmes Alice nas Cidades de Wim Wenders e Blow-up de Michelangelo Antonioni.Nesta perspetiva, o tema é analisado no sentido de compreender de que forma este arquivo de memórias se revela útil no momento em que ao arquiteto, no exercício da sua profissão, lhe é pedido para idealizar um espaço.Numa segunda fase, a pesquisa assenta-se na tentativa de relacionar o pensamento cinematográfico ao pensamento em arquitetura. Embora o objeto da arquitetura seja estático, o seu entendimento surge-nos com base na movimentação do corpo no espaço, e é neste processo, em que um espaço se vai compreendendo ao longo de um percurso, que se dá o encontro entre a promenade architecturale e a montagem cinematográfica. A acrópole de Atenas utilizada aqui como exemplo por ser alvo de análise tanto por parte de Eisenstein como por parte de Le Corbusier, que encontram num percurso a explicação para a sua aparente desorganização em planta.<br>The following master thesis reflects on the contribution of cinema as a way of thinking and creating architecture. It explores its ability to sensorial confront us with new spaces through moving images and the way the human mind processes and archives these spaces within our cognitive system.This work consists in an analysis that compares visual apprehension of space through the cinema with living space that comes from the real experience of the site, seeking to relate travelling with the experience of watching a movie. To achieve what is proposed, we can divide this investigation whit two representative movies, Alice in the Cities directed by Wim Wenders and Blow-up directed by Michelangelo Antonioni.In this perspective, the subject is analysed in order to understand how this archive of memories proves itself useful when the architect is asked to idealize an ambience. The second part of this work aims to relate the cinematographic with the architectural thoughts. Although the workpiece is static, its comprehension arises from the moving body in space, through the course of this process, the perception of the space develops within the path. Which gives the encounter between the promenade architecturale and cinematographic montage. The Athens Acropolis it’s used as a case of study by Eisenstein as well as by Le Corbusier, that find the explanation with the path, for the ground plan’s apparent disorganization.Key-words: Architecture, Cinema, Memory, Promenade Architecturale, Montage.

Tese de doutoramento em Arquitectura, especialidade de Arquitectura e Construção, apresentada à Faculdade de Ciências e Tecnologia da Universidade de Coimbra<br>This dissertation analyses the roots of Le Corbusier’s concept of “promenade architecturale” by examining his formative years between the early education in La Chaux-de-Fonds and the journey to the East. The architectural promenade is here understood as a basic concept of Le Corbusier that informs the many factors implicated in his work. I start by proposing a broad understanding of the architectural promenade, seeing the concept as an expression for the experiential dimension of architecture and landscape. This experiential dimension, I argue, is broadly submitted to a pattern rooted in his early formative years–a pattern which developed along with the other themes and concepts that he absorbed during this early period, and which, like these, had deep consequences in his work and thought. It is my argument that this experiential pattern is rooted in the dialectical categories of the picturesque and the Sublime in landscape experience. This is shown through an analysis of his academic works in La Chaux-de-Fonds, made between 1902 and 1907. The study of the following traveling period–the trip to Italy and Vienna in 1907-1908, the Parisian sojourn between 1908 and 1909, the German sojourn between 1910 and 1911, and the journey to the East in 1911–shows the many intellectual discourses that he was exposed to, and how, through these, the initial dialectical categories crystallized during the school years were gradually enriched with Romantic aesthetics and philosophical concepts, acquiring architectural specificity. The analysis of this process through his early works and writings allows us to understand the formation and meaning of the promenade’s experiential pattern, and reevaluate the extent to which it partakes in Le Corbusier’s rich and complex multilayered architectural discourse. What can be broadly termed as architectural promenade is seen as a manifestation of Le Corbusier’s code of ordering spaces and organizing the world, through which he invested them with a symbolic dimension and philosophical world-view. Together with technical, practical, and aesthetic factors, Le Corbusier’s architectural promenade is understood as a fundamental component of his Romantic project for integrating man and the world.<br>Esta dissertação analisa as origens do conceito de “promenade architecturale” de Le Corbusier, examinando os anos de formação compreendidos entre os estudos artísticos em La Chaux-de-Fonds e a viagem ao Oriente. A “promenade architecturale” é aqui entendida como um conceito básico de Le Corbusier que informa os diversos factores que o seu trabalho envolve. Começando por propor um entendimento alargado da “promenade architecturale”, o conceito é visto como expressão da dimensão experiencial da arquitectura e do espaço natural. Defende-se que esta dimensão experiencial é, em termos gerais, submetida a um padrão com origem nos anos de formação – um padrão que se desenvolveu a par com outros temas e conceitos absorvidos durante este período, e que, tal como aqueles, teve profundas consequências no seu trabalho e pensamento. O argumento que se defende aqui é o de que este padrão experiencial tem origem das categorias dialécticas do pitoresco e do Sublime na experiência do espaço natural. Isto é demonstrado através da análise dos seus trabalhos académicos em La Chaux-de-Fonds, elaborados entre 1902 e 1907. O estudo do período de viagens que se segue – a viagem a Itália e Viena em 1907 e 1908, a estada em Paris entre 1908 e 1909, a estada na Alemanha entre 1910 e 1911, e a viagem ao Oriente de 1911 – explora os diversos discursos intelectuais aos quais esteve exposto, e como, através destes, a inicial dialéctica de categorias cristalizada durante os anos de escola foi gradualmente enriquecida com conceitos estéticos e filosóficos românticos, adquirindo especificidade arquitectónica. A análise deste processo através dos seus primeiros trabalhos e escritos permite-nos entender a formação e significado do padrão experiencial da “promenade” e reavaliar até que ponto este participa no rico e complexo discurso arquitectónico de Le Corbusier. Aquilo que, num sentido lato, se pode chamar de “promenade architecturale” é visto como uma manifestação do seu código de organização do espaço e de ordenação do mundo, através do qual Le Corbusier os investiu com uma dimensão simbólica e uma filosofia existencialista. Juntamente com os factores técnicos, prácticos e estéticos, a “promenade architecturale” de Le Corbusier é entendida como uma componente fundamental do seu projecto romântico para integrar o homem no mundo.

Choy Pui Cheung Edman.<br>"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-2001, design report."<br>Includes bibliographical references (leaf 95).<br>prologue --- p.p. 1<br>initiation --- p.p. 2<br>short study --- p.p. 3-15<br>issue --- p.p. 16-17<br>hypothesis --- p.p. 18<br>project goal --- p.p. 19<br>user profile --- p.p. 20<br>justification of the site --- p.p. 21-22<br>site history --- p.p. 23<br>site analysis --- p.p. 24-30<br>program --- p.p. 31-34<br>design concepts --- p.p. 35-38<br>design strategies for environmental improvement --- p.p. 39<br>design record on conceptual design --- p.p. 40-41<br>design record on design development --- p.p. 42-63<br>design record on final design --- p.p. 64-84<br>precedents --- p.p. 85-93<br>epilogue --- p.p. 94<br>bibliography --- p.p. 95

碩士<br>國立臺灣科技大學<br>設計研究所<br>99<br>‘Architectural promenade’ is a concept proposed by Le Corbusier in 1920s, which argued the connection of ramps can foster a unique spatial experience. Based on the theory, this thesis selected four houses designed by Corbusier, that used ramps, as case studies – Villa la Roche (1923), Villa Savoye (1929), Villa Shodan (1956), and Centre Le Corbusier (1967). 3D models of these case studies were made to simulate people strolling inside, observing the quality of light and shadow, and experiencing the special effect achieved through the use of ramp. By observing the methods employed, how an abstract concept of ‘architectural promenade’ was manifested and its effect on the architecture could be understood. Through the simulation and analysis of the case studies, it is found that space, light, visual effects are initially constricted by form of ramp and building, and Le Corbusier, through variety of design methods such as – form of window and its position, handrail type, and use of material, to create special spatial experience and effect when people strolling down Corbusier’s ramps.

碩士<br>大葉大學<br>建築研究所<br>106<br>Promenade architecture is a notion of the dynamic experience with movement which might be moving or revolving a visual target with spaces. The separation of dynamic and static status in architecture is the pivotal characteristic of promenade architecture. In order to create a path for dynamic movement, designers often have employed various heights which construct spaces with a ramp to produce an inspiring route for assisting viewers entering space. Studying and Researching pivotal projects by Le Corbusier will be useful and important as a fundamental reference for the beginning in this thesis research. Ramp and path are significant to create the diversity of space. Many contemporary architects are influenced by the promenade architecture by Le Corbusier. They study how to manipulate spaces using Le Corbusier’s paradigm to expand its spatial implications. The key of this thesis is to seek and organized various projects in systemic way which ramp and path have become major architectural elements and implications. Besides, It will be analyzed and compared with contemporary buildings in contrast to Le Corbusier’s projects in order to define new promenade architecture in this era.

碩士<br>朝陽科技大學<br>建築及都市設計研究所<br>94<br>When the time becomes the construction constitution element, the program then to start to have the event involvement, then affected the human and the spatial interaction relations. Therefore, but the space and time viewpoint has had the change regarding the construction thought and the spatial state, the space no longer is static is dynamic, the body can the movement create the experience in the space the continuity, therefore had the new design technique -promenade architectural. This research content namely aims at under the space and time viewpoint the construction to take a walk, because of analyzes the pattern, the operation technique which it forms, discovers the hideaway in the construction plan event and the spatial relations. In the research process and the method, first the (space-time) idea foundation and the correlation theories derives the construction on “the space and time synchrony” to take a walk carries on the discussion. Can rest on “the time” between this part, “the space”, “the event”, “the plan” takes a walk the relations with the construction, analyzes its composition element and the influence. Next, further studies the Taichung seven issues according to the above argument “to favor the culture”, the ruins and planned anew the area are present and past time overlapping, therefore the archaeology event had the impact to this city. Takes advantage of this regards as the museum construction plan a story, relies on the detective story structure the technique, pushes the understanding riddle return to original state story the truth. The archaeology evidence combination is return to original state event itself, but the story describes the spatial content. Obtains the civilized development and the active condition from the fragment,，Obtains the civilized development and the active condition from the fragment, the observation and the collection clue and excavates should have the appearance and behind the significance, but the event is an evidence which in the environment the memory occurs, obtained every one “the evidence” is one “the news” the transmission, connects into the various spots a plan, will affect because of the plan to the future and takes the architectural design about spatial and the environment operating process the basis.