FLC Bulletin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Le Corbusier Charles-Édouard Jeanneret-Gris
Le Corbusier Charles-Édouard Jeanneret-Gris Portrait on Swiss ten francs banknote Personal information Name: Charles-Édouard Jeanneret-Gris Nationality: Swiss / French Birth date: October 6, 1887 Birth place: La Chaux-de-Fonds, Switzerland Date of death: August 27, 1965 (aged 77) Place of death: Roquebrune-Cap-Martin, France 1 Created with novaPDF Printer (www.novaPDF.com). Please register to remove this message. Major buildings and projects The Open Hand Monument is one of numerous projects in Chandigarh, India designed by Le Corbusier 1905 - Villa Fallet, La Chaux-de-Fonds, Switzerland 1912 - Villa Jeanneret-Perret, La Chaux-de-Fonds [1] 1916 - Villa Schwob, La Chaux-de-Fonds 1923 - Villa LaRoche/Villa Jeanneret, Paris 1924 - Pavillon de L'Esprit Nouveau, Paris (destroyed) 1924 - Quartiers Modernes Frugès, Pessac, France 1925 - Villa Jeanneret, Paris 1926 - Villa Cook, Boulogne-sur-Seine, France 1927 - Villas at Weissenhof Estate, Stuttgart, Germany 1928 - Villa Savoye, Poissy-sur-Seine, France 1929 - Armée du Salut, Cité de Refuge, Paris 1930 - Pavillon Suisse, Cité Universitaire, Paris 1930 - Maison Errazuriz, Chile 1931 - Palace of the Soviets, Moscow, USSR (project) 1931 - Immeuble Clarté, Geneva, Switzerland 1933 - Tsentrosoyuz, Moscow, USSR 1936 - Palace of Ministry of National Education and Public Health, Rio de Janeiro 1938 - The "Cartesian" sky-scraper (project) 1945 - Usine Claude et Duval, Saint-Dié-des-Vosges, France 1947-1952 - Unité d'Habitation, Marseille, France 1948 - Curutchet House, La Plata, Argentina 1949-1952 - United Nations headquarters, New York City (project) 1950-1954 - Chapelle Notre Dame du Haut, Ronchamp, France 1951 - Cabanon Le Corbusier, Roquebrune-Cap-Martin 2 Created with novaPDF Printer (www.novaPDF.com). -
Construire L'image Bilder Bauen the Constructed Image
CONstruire L’image LE CORBUSIER ET LA PHOTOGRAPHIE bilder bauen LE CORBUSIER UND DIE FOTOGRAFIE the constructed image LE CORBUSIER AND PHOTOGRAPHY GUIDE DE VISITE BESUCHER- HEFT VISITOr’s GUIDE Construire l’image F Le corbusier Le Corbusier et la photographie 30.09.2012 – 13.01.2013 F Ô le miracle de la photographie ! 2012 Bilder bauen Brave objectif, quel œil surnuméraire précieux ! Le Corbusier und die Fotografie Le Corbusier (Charles-Édouard Jeanneret), Lettre à Charles L’Eplattenier, 1911 30.09.2012 – 13.01.2013 the constructed image le corbusier and photography F Nombre d’expositions ont déjà été consacrées aux multiples facettes de 30.09.2012 – 13.01.2013 l’œuvre de Le Corbusier (1887–1965), mais son rapport à la photographie, un thème qui touche pourtant à de nombreux aspects de sa carrière diversifiée, a été peu abordé jusqu’à ce jour. La photographie est bien sûr à la base de la F En 2012, la Ville de La Chaux-de-Fonds F Cette exposition sera présentée au CIVA diffusion de son œuvre architecturale, mais cette exposition ne se limite pas à célèbre le 125e anniversaire de la naissance de (Centre international pour la Ville, l'Archi- la représentation photographique des réalisations de Le Corbusier. Dans son Charles-Edouard Jeanneret dit Le Corbusier, tecture et le Paysage) de Bruxelles du 26 avril cas, la photographie mérite en effet d’être envisagée dans une perspective célèbre architecte, urbaniste, peintre et au 6 octobre 2013. bien plus large : il est ici question de la photographie autant comme outil de homme de lettres né en 1887 dans la Métro- représentation, de promotion ou de diffusion que comme moyen de recherche pole horlogère. -
The Urban Canvas: Urbanity and Painting in Maison Curutchet
130 ACSA EUROPEANCONFERENCE LISBON HISTORYTTHEORY/CRITIClSM . 1995 The Urban Canvas: Urbanity and Painting in Maison Curutchet ALEJANDRO LAPUNZINA University of Illinois at Urbana-Champaign USA ABSTRACT A BRIEF HISTORY AND DESCRIPTION OF MAISON CURUTCHET This paper proposes a reading of the faqade of Maison Curutchet, a significant yet largely unstudied building de- In September 1948, Dr. Curutchet, a well-knownprogressive signed by Le Corbusier in 1949, as a metaphor or a condenser surgeon from Argentina, contacted Le Corbusier, however of the architect's ideas on urban-planning and painting. It indirectly, requesting his architectural services for the de- also proposes that in this building Le Corbusier proved to be sign of a combination of single family dwelling and medical (contrary to what is often asserted) one of the most contex- office in a site, facing a beautiful large urban park, that he tually urban oriented architects of the twentieth century. owned in the city of La Plata, one-hundred kilometers south of Buenos Aire~.~He sent to Le Corbusier a very detailed program of his needs that included a three- bedroom house INTRODUCTION with all "modern comforts," and an independent medical Maison Curutchet is undoubtedly one of the least known cabinet consisting of waiting room and consultation office buildings designed by Le Corbusier. The reasons for the little where he could perform minor surgical interventions imple- attention that this work received from critics and historians menting his then revolutionary techniques. to-date are manifold, and should be attributed to the building's In spite of being extremely busy with the design and geographical location, far away from what were then the construction of other major projects (most notably the Unite centers of architectural production (the discourse and the d'Habitation in Marseilles and the Masterplan for St. -
Histoire De La Haine
HISTOIRE ▲ ▼ rique « moyenne » située entre deux paroxysmes, la Révolution et Vichy, plus précisément entre 1830 et 1930. Pour la caractériser, la fi ction et les discours savants se sont mis à la recherche de formules : sentiment destructeur, pulsion lyser, il convient de croiser les ressources documentaires et historiographiques afi n de se demander comment la haine naît, se manifeste, se développe et parfois ▲ Histoire de la haine il importe d’écouter les hommes et des femmes du passé afi n de restituer des Une passion funeste 1830-1930 une « fi gure du pensable » et un ressort psychologique déterminant, donnant la Frédéric CHAUVAUD responsable de l’axe « Sociétés confl ictuelles » du Criham (EA : 4270), est un spécia- liste de la violence, du corps brutalisé et de la Justice. Auteur de nombreux ouvrages, il a notamment publié ou dirigé (2012), (2012), (2014), (2014). ISBN 978-2-7535-3333-2 21 € P RESSES UNIVERSITAIRES DE RENNES Histoire de la haine Collection « Histoire » Dirigée par Frédéric Chauvaud, Florian Mazel, Cédric Michon et Jacqueline Sainclivier Série « Justice et Déviance » Dirigée par Frédéric Chauvaud Dernières parutions Frédéric Chauvaud et Pierre Prétou (dir.), Clameur publique et émotions judiciaires. De l’Antiquité à nos jours, 2014, 320 p. Silvia Liebel, Les Médées modernes. La cruauté féminine d’après les canards imprimés (1574-1651), 2013, 226 p. Valérie Sottocasa (dir.), Les brigands. Criminalité et protestation politique (1750-1850), 2013, 248 p. Claire Dolan, Les procureurs du Midi sous l’Ancien Régime, 2012, 288 p. Frédéric Chauvaud (dir.), Le droit de punir du siècle des Lumières à nos jours, 2012, 202 p. -
Los Alzados Inmateriales Como Planos Abstractos Y Su Control Geométrico
CAPÍTULO 5: LOS ALZADOS INMATERIALES COMO PLANOS ABSTRACTOS Y SU CONTROL GEOMÉTRICO. Como sostenía Scully, los alzados de Garches están sólo dibujados y no construidos. Son de papel. Se redibujaron posteriormente a la obra, para su publicación en “L´Architecture Vivante” y posteriormente en L´Oeuvre Complète. Son esquemas, y como tal han de ser considerados, Contienen errores, como el único tensor de la marquesina; pero demuestran el control de la Geometría en las composiciones de Le Corbusier mediante los trazados reguladores. El texto que los acompaña recalca el carácter de la geometría como mecanismo de obtención de la emoción en arquitectura. Tras una página doble homogénea en la que la que sólo aparecía un tipo de representación (la planta), Le Corbusier vuelve a una página doble con una composición multifacética. El montaje de esta página doble está compuesto por un texto, dos planos (el alzado delantero y el trasero), y una secuencia de 8 fotografías. Es la única página doble sobre Garches donde se mezclan estos tres métodos de descripción: el escrito del texto, el plano y la fotografía. No es por lo tanto un modo ortodoxo de representación. Al darse esta conjugación de los 3 elementos; es necesario que sean vistos de modos distintos: la lectura atenta del texto, la detención de la mirada ante la objetividad del plano, para pasar después a la continuidad fragmentaria y la superposición visual de la secuencia de imágenes. Lo visual y lo mental están continuamente relacionándose. Es manifiesto que estas dos páginas no pueden sino concebirse como una sola, dado que dos imágenes del recorrido “saltan” de la página 145 a la página 144. -
Le Corbusier and Léger
PRESS KIT LE CORBUSIER AND LÉGER POLYCHROMATIC CONVERSATION 20.05 > 24.09.17 La Première Rue Cité radieuse Le Corbusier 131, Résidence Le Corbusier - Briey-en-Forêt centrepompidou-metz.fr #visionspolychromes In partnership with the association La Première Rue and le Val de Briey and with the generous support of the Fondation Le Corbusier. La Val de Briey Première Façade polychrome de "La Cité Radieuse" Le Corbusier de Briey-en-Forêt © F.I.C. / ADAGP, Paris, 2017. Photo Pascal Volpez Rue LE CORBUSIER ET LÉGER POLYCHROMATIC CONVERSATION 1. EXHIBITION OVERVIEW LE CORBUSIER AND LÉGER POLYCHROMATIC CONVERSATIONS From May the 20th to September the 24th Cité radieuse Le Corbusier - Briey-en-Forêt As a dialogue to the retrospective Fernand Léger. Beauty is all around at the Centre Pompidou-Metz, the exhibition Le Corbusier and Léger presented at the Cité Radieuse in Briey is an invitation to rediscover this iconic Le Corbusier building situated forty minutes away from Metz. The exhibition conceived in partnership with La Première Rue and le Val de Briey has benefited from generous financial help from the Le Corbusier Foundation. The exhibition links the architects thinking to that of the painter, revealing their long friendship marked by a common celebration of colour. After having discovered the region on the front at Verdun during the First World War, it was in the Briey basin , in 1940 that Fernand Léger imagined the setting for an aviation centre open to all. This project of aeronautic democratisation, interrupted by the war, struck a chord with Le Corbusier who had a passion for what he called “flying machines”. -
Le Corbusier During the 1920S and 1930S
Le Corbusier during the 1920s and 1930s Le Corbusier 1920s -original name: Charles Eduard Jeanneret (1887-1965) -born in a French speaking Switzerland, La Chaux-de-Fonds -watch engraving -worked for August Perret for a few months in Paris in 1908 -between 1910 and 1911, stayed in Germany to make a report on German applied art AEG Turbine Factory, exterior (1908-1909) Peter Behrens Berlin, Germany -worked briefly for Peter Behrens -also attended an important Deutscher Werkbund conference Le Corbusier 1920s -he then traveled to the Balkans, Istanbul, and Athens (next slide) -fascinated by the Parthenon and converted to Classicism (partly an influence from Perret and Behrens) -to reconcile architectural tradition with modern technology Parthenon (BC 477-438) -in 1917, permanently moved to Paris -opened a firm and also started to paint in oils under the guidance of Amedee Ozenfant -Jeanneret and Ozenfant called themselves ‘Purists’ -they wrote a book Apres le Cubism and with Paul Dermee, a poet, founded the magazine L’Esprit Nouveau in 1920 -about this time, started to use Le Corbusier The relationship between cubism and purism Juan Gris The Book, 1913 Still Life (1919) Jeanneret/Le Corbusier Apres le Cubism (1918) -praised Cubism for its abolition of narrative, its simplification of forms, its compression of pictorial depth, and its method of selecting certain objects as emblems of modern life -but condemned it for its decorative deformation and fragmentation of the object and demand the object’s reinstatement “Of all the recent school of -
Le Corbusier
LE CORBUSIER ..................................................................................................................................................................................................................... I milleLes multiples volti di un facettes architetto d’un rivoluzionario architecte révolutionnaire Textes de Giampiero Bosoni, Brigitte Bouvier, Philippe Daverio, Alessandra Dolci, Fulvio Irace, Sergio Pace, Bruno Reichlin, Marida Talamona, Simon Zehnder Les multiples facettes d’un architecte révolutionnaire ..................................................................................................................................................................................................................... Introduction «Le Corbusier a changé l’architecture – et l’architecte», ce vibrant éloge d’André Malraux à Le Corbusier garde toute son actualité. Né Charles-Édouard Jeanneret, Le Corbusier (1887-1965) reste l’architecte le plus inventif et le plus influent du 20e siècle. Architecte, créateur de mobilier, peintre, sculpteur, théoricien, poète, il a construit 75 édifices dans 11 pays, conçu 42 projets d’urbanisme, rédigé 34 livres. Il laisse 8000 dessins, plus de 500 tableaux, sculptures et tapisseries Conçue et réalisée entre le début des années 20, période de la naissance du mouvement moderne et les années 60 où cette architecture d’avant-garde s’est imposée, l’oeuvre bati de Le Corbusier incarne une rupture radicale avec les styles, technologies et pratiques du «passé». Contre tout académisme, Le -
Value Inquiry Book Series
Beauvoir in Time Value Inquiry Book Series Founding Editor Robert Ginsberg Executive Editor Leonidas Donskis† Managing Editor J.D. Mininger volume 348 Philosophy, Literature, and Politics Edited by J.D. Mininger (lcc International University) The titles published in this series are listed at brill.com/vibs and brill.com/plp Beauvoir in Time By Meryl Altman leiden | boston This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www. knowledgeunlatched.org. Cover illustration: Simone de Beauvoir in Beijing 1955. Photograph under CC0 1.0 license. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020023509 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN 0929-8436 isbn 978-90-04-43120-1 (hardback) isbn 978-90-04-43121-8 (e-book) Copyright 2020 by Meryl Altman. -
Savoye Space: the Sensation of the Object
Architecture Publications Architecture Fall 2001 Savoye Space: The eS nsation of the Object Daniel J. Naegele Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/arch_pubs Part of the Architectural History and Criticism Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ arch_pubs/28. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the Architecture at Iowa State University Digital Repository. It has been accepted for inclusion in Architecture Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Savoye Space: The eS nsation of the Object Abstract Le Corbusier's early education encouraged him to think of architecture in idealistic and metaphoric terms: architecture not as building, but as representation. Schooled in the neomedieval beliefs of John Ruskin and Owen Jones, and in the organic similes of art nouveau, he was convinced that art and industry, like art and craft in former times, ought naturally to ally. For Le Corbusier, a building was always like something else. His La Chauxde- Fonds houses were like the nature that surrounded them, with their roofs designed as curves and folded gables to echo the shape of local ftr trees.1 The alvS ation Army building was like a beached ocean liner, the Unites like ftling cabinets or wine racks. Continuous ribbon buildings projected for Rio de Janeiro and Algiers were like bridges or aqueducts or even like the Great Wall of China, and the polychrome Nestle Pavilion was like a collage painting into which the viewer could walk. -
Le Corbusier and Color Heritage
Offprint From Preservation Education & Research Volume Four, 2011 Copyright © 2011 Preservation Education & Research. All rights reserved. Articles, essays, reports and reviews appearing in this journal may not be reproduced, in whole or in part, except for classroom and noncommercial use, including illustrations, in any form (beyond that copying permitted by sections 107 and 108 of the U.S. Copyright Law), without written permission from the National Council for Preservation Education (NCPE). ISSN 1946-5904 Abstracts Industrial ArchaeoloGY and BRAZILIAN Industrial After PURISM: LE Corbusier and Color HeritaGE The objective of this paper is to illustrate the This article investigates the evolution of Le Corbusier’s preservation of the Brazilian industrial heritage in the thought about architectural polychromy during context of the world industrial heritage movement. the transition period following his purist period by Initially, the development of industrial archaeology as a comparing and analyzing the use of color in his field during the last five decades is documented. In the painting, architecture, and sculpture. While his purist second section, the definitions and scopes of industrial buildings share a sophisticated palette of muted soft archaeology are discussed, and its contribution to shades based on the constructive qualities and spatial the preservation of industrial heritage is reviewed. dynamics of each color, his postwar buildings share a In the third section, industrial heritage is analyzed in palette of vibrant, often primary or pure hues. Vibrant the context of the international charters. Finally, the color is applied next to rough exposed concrete to preservation of industrial heritage is addressed in the evoke strong emotional responses. -
Fiche D'identité LE CORBUSIER
Fiche d’identité LE CORBUSIER Informations destinées aux enseignants - Qui est Le Corbusier ? Vous connaissez certainement Charles-Édouard Jeanneret-Gris sous son pseudonyme Le Corbusier. Ce célèbre architecte et urbaniste français est un Suisse d'origine et a été naturalisé français en 1930. Il est né à La Chaux-de-Fonds dans le canton de Neuchâtel (suisse) le 6 octobre 1887. Il meurt à l'âge de 77 ans le 27 août 1965 à Roquebrune- Cap-Martin. Il se forme à la gravure et à la ciselure à l'école d'art La Chaux-de-Fonds dès 1900 puis il va se mettre très vite à l'architecture en 1904. Il apprend de nombreuses techniques comme celle du béton armé en 1909 chez l'architecte Auguste Perret. En mai 1911, il entame un grand voyage qui va être source d'inspiration pour lui. Prague, Vienne, Budapest, Istanbul, Athènes et tout particulièrement le Mont-Athos vont inspirer sa philosophie. Il se rend également en Italie, comme à Pise, pour admirer l'art. Il emporte avec lui un carnet d'illustrations qu'il va remplir et qu’il réinvestira un grand nombre de fois dans ses réalisations futures. Sa première construction date de 1912, dès son retour de voyage. En 1917, il ouvre son propre atelier d'architecture. Le Corbusier est le pseudonyme qu'il va choisir dès 1920 pour une de ses publications littéraires dans la revue L'Esprit Nouveau. Pendant dix ans, il va réaliser un grand nombre de projets avec son cousin Pierre Jeanneret, architecte et designer. Cette période est couronnée par la réalisation de deux Villas : - la Villa Stein, « villa les terrasses », livrée vers 1929 à Garches.