Mise En Page 1
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). -
MIT 4.567 Introduction to Computation in Architectural Design Spring
MIT 4.567 Introduction to Computation in Architectural Design Spring 2017 Takehiko Nagakura Legend A modest modeling B some difficult portions in modeling C challenging Ref Do not select (For reference only) Architects Buildings Year Built Reference Notes Andrea Palladio B 1 Palazzo Da Porto 1552 built Palladio Pl.37-40 (Palazzo Iseppo Da Porto) Forssman Scamozzi Vol.1. p49 B 2 Villa Almerico 1569 built Palladio Pl.52-55 (Villa Rotonda) Scamozzi Vol.2. p8 Camillo B 3 Villa Zen 1566 built Palladio Pl.104-107 partiall involvement (Villa Zeno) Scamozzi Vol.3. p37 by Palladio B 4 Villa Foscari 1560 built Palladio Pl.108-110 (La Malcontenta) Scamozzi Vol.3. p8 B 5 Villa Pisani-Placco 1555 built Palladio Pl.114-117 Scamozzi Vol.2. p20 B 6 Villa Saraceno Lombardi 1548 built Palladio Pl.128-130 B 7 Villa Godi 1552 built Palladio Pl.153-155 Hofer Scamozzi Vo.2. p27 B 8 Villa Sarego Boccoli 1569 built Palladio Pl.156-159 (a.k.a. Villa Serego) Scamozzi Vol.3. p48 C 9 Invenzione per una unknown unbuilt Palladio Pl.168-170 irregular site situazione in Venezia Scamozzi Vol.4. p53 B 10 Villa Pietro Caldogno 1570 built Palladio Pl.196-198 painting on wall Scamozzi Vol.2. p67 B 11 Villa Mocenigo(Badoer) 1563 built Scamozzi Vol.3. p51 Puppi B 12 Villa Emo 1567 built Scamozzi Vol.3. p24 Lewis Ref Villa Marcello Ref Villa Fratelli Bissaro Architects Buildings Year Built Reference Notes Le Corbusier B 1 Maison de Errazuris Au Chili 1930 unsure Boesiger Vol.2 p49 RC + wood A 2 Villa de Mandrot 1931 built Boesiger Vol.2 p59 A 3 Durand Alger 1933 unbuilt Boesiger -
City of Chandigarh the City Beautiful ABOUT CHANDIGARH
City of Chandigarh The city beautiful ABOUT CHANDIGARH AREA: 114 sq. km POPULATION 1.05mn YEAR OF DEVELOPMENT : 1952 REASON FOR SELECTION OF SITE: The present site was selected in 1948 taking into account 1.its Central location in the state, 2.proximity to the national capital 3.availability of sufficient water supply, 4.fertile soil, 5.gradient of land for natural drainage, 6.beautiful site with the panorama of blue hills as backdrop 7.moderate climate. LE CORBUSIER TEAM OF ARCHITECTS: Le Corbusier and his team which consisted of 1.Maxwell Fry 2.Jane B Drew(wife of Maxwell Fry) 3.Pierre Jeanneret (cousin of Le Corbusier) These senior architects were supported by Indian architects and planners consisting of: 1.M.N. Sharma, 2.A. R. Prabhawalkar, 3.U.E. Chowdhary, 4.J.S. Dethe, 5.B.P. Mathur, 6.Aditya Prakash, and others DIVISION OF WORK: Le Corbusier : Master plan of the city The Capital Complex Established the architectural control & design of the main buildings of the city. Senior architects: Housing for Govt. employees, schools, shopping centers, hospitals LE CORBUSIER’S MASTER PLAN: The master plan of the city has a rectangular shape with a grid iron pattern for the fast traffic roads. Vertical and high rise buildings were ruled out, keeping in view the socio economic-conditions and living habits of the people. The master plan was to be realized in two phases, catering to a total population of half a million. Phase-I 30 low density sector s area of 9000 acres (Sector 1 to 30) 1,50,000 population Phase-II 17 considerably high density Sectors ( Sectors 31 to 47) area of 6000 acres 3,50,000 population. -
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. -
History and Memory in Le Corbusier's Chandigarh
JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 / eISSN 2029-7947 2016 Volume 40(3): 220–228 doi: 10.3846/20297955.2016.1210048 MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH Nabaparna GHOSH University of Virginia, Charlottesville, United States of America E-mail: [email protected] Received 14 November 2015; accepted 09 May 2016 Abstract. Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions. Keywords: Le Corbusier, Chandigarh, B.V. -
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 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 -
Rethinking Chandigarh in the Post-Colonial Frame
1998 ACSA INTERNATIONAL CONFERENCE 187 Inheriting Modernism: Rethinking Chandigarh in the Post-colonial Frame VIKRAMADITYA PRAKASH University of Washington INHERITING MODERNISM In the post-colonial world, modernism is part of our own history; "lndian" catachrestic self-inscription, the writing of the nation- Speaking at a conference on the Theatres of Decolonization, Gayatri state, the founding counter-colonial gesture, albeit a failed one, C. Spivak, the well known post-colonial critic andintellectual, made "India must catch up with the progress of the West." This gesture is acase for freeing colonial architecture from the unhappy menlory of not the same as the colonial one, and its colonial architecture, that colonization. It is "silly" she argued to shadow box with the "mun- was brought to the colonized lands with invading armies; the dane movement of the European colonies upon Indian soil ...in the colonizers took colonial architecture with them, broadly speaking. era of economic restructuring."' "The contemporary hybrid Indian, In the post-colonial scenario the former colonizer was still repre- a product like us of history," she argued, has internalized the idiom sentative of the idea of progress. This is a properly post-colonial of minor colonial architecture now. And this, she said, should be inheritance. If it is questionableit is from the abstract logic that India respected, if respect for the representative Indian citizen of today is must be "Indian." While I support this, abstractly speaking, I also the fundamental goal of decolonization. remember that it was the colonizers who also insisted that "India In that same presentation, however, Spivak threw away modern- must be Indian," albeit the "enlightened ones. -
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 -
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. -
La Ligne Claire De Le Corbusier. Time, Space, and Sequential Narratives
DOI: http://dx.doi.org/10.4995/LC2015.2015.814 La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives L.M. Lus Arana Profesor Ayudante Doctor. Área de Composición Arquitectónica. Escuela de Ingeniería y Arquitectura, Universidad de Zaragoza 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. 1. Introduction: Le Corbusier, the Arts, and the Media In November 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema”1. Signed by De Fayet, a penname shared by Amédée Ozenfant and Charles-Edouard Jeanneret, it vindicated the figure of Rodolphe Töpffer, and was accompanied by a selection of comic strips from Monsieur Pencil (created in 1831 and published in 1840), and Le Docteur Festus (1831/1846).