DOCSLIB.ORG

Le Corbusier and the Occult Le Corbusiero

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Le Corbusier and the Occult Le Corbusiero LE CORBUSIER AND THE OCCULT LE CORBUSIERO The MIT Press Cambridge, Massachusetts London, England AND THE OCCULTO J. K. BIRKSTED © 2009 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Minion by Graphic Composition, Inc. Printed and bound in Spain. Library of Congress Cataloging- in- Publication Data Birksted, Jan, 1946– Le Corbusier and the occult / J. K. Birksted. p. cm. Includes bibliographical references and index. isbn 978-0-262-02648-2 (hardcover : alk. paper) 1. Le Corbusier, 1887–1965 —Criticism and interpretation. 2. Symbolism in architecture. 3. Modern movement (Architecture). 4. Freemasonry and the arts. 5. Occultism. 6. Compagnonnages. i. Title. na1053.j4b48 2009 720.92—dc22 [b] 2008027186 10 9 8 7 6 5 4 3 2 1 Its history can no more be separated from the lands surrounding it than the clay can be separated from the hands of the potter who shapes it. —Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II In answer to a predecessor at the Bartlett, Reyner Banham, who set the problem: Le Corbusier’s book on architecture . was to prove to be one of the most influential, widely read and least understood of all the architectural writings of the twentieth century . — Reyner Banham, Theory and Design in the First Machine Age Index Page numbers in italics indicate illustrations. Acropolis, 83– 85 Bartholdi, Auguste, 81 Alazard, Jules, 252 Bauchant, André, painting, 230 Allendy, René, 278– 279, 304, 388n8 Bauhaus, 83 Altes Museum, Berlin, 63, 63 Bech, Wilhelm, 71 Amiable, Louis, 137– 139 Bègue- Clavel, François Timoléon, 136, 153– 154 Anti- Semitism, 78, 81, 101 Histoire pittoresque de la Franc- Maçonnerie et Apollinaire, Guillaume, 267 des sociétés secrètes anciennes et modernes, Architectural promenade, 11, 83– 85, 159– 165, 170, 147– 148, 185, 186, 314 241, 328 Beistegui penthouse, electric hedge, 54, 54 Villa Savoye, 160, 161, 165 Belanger, François- Joseph, 22, 24, 27, 30 Arnould, Sophie, 344– 345n143 abattoirs, La Chaux- de- Fonds, 312 Ateliers d’Art Réunis project (Le Corbusier), 311 abattoirs, rue Rochechouart, 48, 49, 50 Aubert, Georges, 76 Anglo- Chinese gardens, 41 Bagatelle, 30, 31, 41, 54, 56 Baker, Josephine, 344– 345n143 cabanon, 52, 53 Bakhtin, Mikhail, 245 “Carnet de voyages en Angleterre,” 329– 330 Bakunin, Mikhail, 81, 100, 354n11 Château de Maisons, interiors at, 55, 344n139 Banham, Reyner, 306, 381 country house in Pantin, 25 Barbéris, Charles, 252 country residence at Santeny, 308 Barney, Natalie Clifford, 124– 126, 125 designs for park at Méréville, 41 Barthes, Roland, 35 drawings, 48, 49, 50 396 Index Écuries du Comte d’Artois, 63, 63 Cabinets de Réfl exion, 139, 140, 170 equestrian statue of Henri IV, 58, 60, 345n149 Cádra, Janko, 19, 190– 191, 204 Folie Saint- James, 31– 33, 32, 33, 43 with Ritter, 201 Freemasonic patrons, 329 Carnet Paris Automne 1913 (Le Corbusier), 26 gardens and landscape architecure, 41, 41, Casa del Noce, Pompeii, 160– 163, 162, 164– 165 341n106 Cassou, Jean, 262, 279– 280, 392n88 Halle au Blé, 45, 45, 46, 71 Le centre du monde, 169– 170, 332 Hermitage at Boudour, 34 Catharism, 234, 312– 315, 375n44 Immeuble Morel de Chefdeville, 36, 37, 38 Catholicism, 213– 215, 283– 284, 375n44 Maison Dervieux, 49 anti- Catholic postcard, 284 La nouvelle Londres, 55– 57, 57 National Catholic Federation, 284, 386n76 parallels with Le Corbusier, 48– 62, 344– 345n143 Cendrars, Blaise (Frédéric- Louis Sauser), 185– 186 pavilion for Copley’s Siege of Gibraltar, 46, 47 Cendrars, Miriam, 186 Projet de décoration pour la Fête de l’entrée de Chaîne d’Union (journal), 147, 148 Louis XVIII dans sa capitale, 60 Chandigarh urban plans, 55– 57, 57 Fosse de la Considération (Le Corbusier), 59 Belli, Robert, 27, 106– 107 open hand sculpture (Le Corbusier), 57, 59 abattoirs at La Chaux- de- Fonds, 312 Parliament Building (Le Corbusier), 62–63 , 63 crematorium at La Chaux- de- Fonds, 116– 120, Chapallaz, René, 95 117, 118, 119, 310 Château de Maisons, 30, 55 Bernet, Albert, house in Le Vésinet, 310 Chenal, Pierre, 164 Besset, Maurice, 21 Chevaliers Bienfaisants de la Cité Sainte, emblem, Bibliothèque Nationale de France, 14– 15, 24, 232 267– 270, 379n14 Chivalric ideals, in Freemasonry, 223, 285– 287 Cabinet des Estampes, 24, 267, 379n14,15 Choisy, Auguste, 26, 85 reading rooms, 268, 379n15 Histoire de l’architecture, 26, 51, 82, 83, 84 Bibliothèque Sainte- Geneviève, 24 Claudius- Petit, Eugène, 247– 249, 392n88 Blaikie, Thomas, 54– 55, 343n138 Club Alpin Suisse Section La Chaux- de- Fonds, 71, Blondel, Jacques- François, 30 78, 80, 101, 129 Boime, Albert, 303, 387n4 inauguration of Cabane Oberaletsch, 128 Bois de Boulogne, 194– 195, 340n74 at Loèche- les- Bains, 187 Boyer, Abel, 259, 260 membership, 129 Brandon, Raoul, 309 postcard to Georges- Édouard Jeanneret, 123 Brunet, Frédéric, 309 Combin de Corbassière (photo from Jeanneret Brussels International and Universal Exposition, family album), 11 43– 45, 44 Compagnonnages, 247– 261, 376n55, 377n78, 378n85 chefs d’œuvre, 261 Cabanon, Roquebrune- Cap- Martin (Le Compagnons Charpentiers du Devoir de Corbusier), 52, 52 Liberté, Tours, 257 Index 397 Compagnonnages (cont.) Favre- Jacot, Georges, 102 and Eiffel Tower, 281– 283, 282, 283 Ferry, Jules, 116, 136 and Freemasonry, 255– 257 Feuille d’Avis (newspaper), 7– 9, 334 initiation rituals, 259– 260, 260, 306 Firminy- Vert, Église de Saint- Pierre (Le Corbu- and Le Corbusier, 247– 252 sier), 313 symbolism, 303– 304, 315 Flanner, Janet, 28 Tour de France, 258, 258– 259 Folie Saint- James, 32, 33, 43 Conan Doyle, Arthur, 317, 392n73 Fosse de la Considération, Chandigarh (Le Cor- Courboin, François, 29– 30, 339n60, 380n20 busier), 59 heliogravure of Péladan, 269 Four Elements rituals, 143, 165– 167 Courvoisier- Sandoz, James, 190, 191, 212 Francastel, Pierre, 21 Croix Bleue, 72 Francillon, Ernest, 102 L’Eplattenier murals for, 78 Freemasonic lodges. See also names of individual Crusader imagery, 285– 287, 286 lodges membership, 101– 108 Dautry, Raoul, 252, 254 Freemasonry Dermée, Paul, 11, 278, 384n47 anti- Freemasonic paranoia, 81 La croyance en Dieu et el Grand Orient de France, architecture, 27, 120– 122 278 and “cathedral builders,” 254– 255 Deshairs, Léon, 30 and Catholic Church, 215, 283– 284, 284 Despierre, René, 252 chivalric ideals, 223, 285– 287 Dessoulavy, Georges, mural at train station of La and compagnonnages, 255– 257 Chaux- de- Fonds, 272, 274, 382n31 and crusader imagery, 285– 287 Ditisheim, Paul, 102, 273– 274 francophone, 80– 81 Divoire, Ferdinand, 270 in La Chaux- de- Fonds, 78– 80 Dom- ino system, 18, 19, 21, 51, 336n2 membership of lodges, 101– 108 Dormoy, Marie, 27 neo- Masonic groups, 270– 273, 271, 272, 273 Doucet, Jacques, 28– 29 and professional guilds, 250 Doumer, Paul, 78 rituals (see Rituals, Freemasonic) Duboy, Philippe, 267 symbolism and symbology, 239– 241, 244, 303– Dubreuil, Hyacinthe, 252– 254 312, 315– 317, 390n54 Duchamp, Marcel, 267, 379n15 values and principles, 223– 226 Ducommun, Élie, 108, 135 and Vichy regime, 284– 285 Freud, Sigmund, 33, 317, 392n73 École des Beaux- Arts, Paris, 24 Eiffel Tower, 281– 283, 282, 283 Gallet family, 327– 328 Espace indicible (ineffable space), 11, 350n55 Gallis, Yvonne, 26 Etlin, Richard, 82 tombstone, 235 Evard, André, 121 Ganay, Ernest de, 41, 42, 48 398 Index Gimpel, Jean, Les bâtisseurs de cathédrales, 254– 255, Imprimerie Horlogère E. Sauser, 187 255 Independent Order of Good Templars, 270– 272 Gimpel, René, 29 Ineffable space (espace indicible), 11, 350n55 Ginzburg, Carlo, 317, 392n73 Initiation rituals Graber, Ernest- Paul, 100, 333 compagnonnages, 259– 260, 260, 306 Grande Loge de France, 144, 165– 167, 345n150 Freemasonic, 129– 134, 130, 133, 140, 143, 145– 146, Grande Loge Suisse Alpina, 108, 110, 135 362n21,24 Grand Orient de France, 147, 363n45 Greek architecture, and the pittoresque, 83– 85, Janin, Danielle, “La maison radieuse,” 318 350n55 Jeanneret, Albert, 76 Gris, Juan, 277, 278, 383– 384n44 Jeanneret, Charles, 291– 294, 294 Guadet, Julien, 110 index card from secret police fi les, 292 Guinand, Élisa, 173 Jeanneret, Charles- Édouard. See Le Corbusier Guinand, Sully, 175, 178– 183, 184 Jeanneret, Georges- Édouard, 31, 71, 78, 80 ascent of Saltellücke (photograph), 326 Hamburg National Theater, 159 diaries and journals, 75, 101, 124, 179– 180, 333 Hassan- Ali- Khan, ambassador to Paris, 144, 144 family photograph, 184 Hautecœur, Louis, 22 watchmaking atelier, 101, 102, 122– 124 Hénard, Eugène, 55 Jeanneret, Henri, 174 Hermeticism, 267 Jeanneret, Marie, 184 Hervé, Lucien, 21 Jeanneret, Pauline (Tante Pauline), 122 Les mains de Le Corbusier, Roquebrune- Cap- Jeanneret family portraits, 174– 175 Martin, 305 Jeanneret- Rauss, Édouard, 122 Hirschy, William, 89 Jeanrenaud, Ali, 116 Hittorff, Jacques Ignace, 27 Jeanrichard, Daniel, 86 Hohenheim, conservatory, 43 Jews, 78, 81, 101 Hubert, Esprit- Eugène, 147, 364n63 Jura mountains, winter landscape, 9 Humbert, Charles, 76, 76– 79, 79, 83, 96, 347n25 crematorium at La Chaux- de- Fonds, 119 Kahnweiler, Daniel- Henry, 277 illustrations for Rabelais, 245– 247, 246
Load more

Recommended publications
  • 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
    [Show full text]
  • Away with Apps? Interactive Web 3D Driven by Relational Databases Jelle Vermandere
    Away with apps? Interactive web 3D driven by relational databases Jelle Vermandere Away with apps? Interactive web 3D driven by relational databases. Jelle Vermandere Student number: 01306207 Supervisors: Willem Bekers, Prof. ir.-arch. Ruben Verstraeten Counsellor: Nino Heirbaut Master's dissertation submitted in order to obtain the academic degree of Master of Science in de ingenieurswetenschappen: architectuur Academic year 2019-2020 The author gives permission to make this master dissertation available for consultation and to copy parts of this master dissertation for personal use. In all cases of other use, the copyright terms have to be respected, in particular with regard to the obligation to state explicitly the source when quoting results from this master dissertation. 13/01/2020 Foreword This thesis aims to make the process of adding 3D models to relational databases easier while providing more functionality. Before I explain this, I would like to thank everyone who made my life easier. First of all, my supervisors Willem Bekers and Ruben Verstraeten for their valuable guidance sessions, their inspiring ideas and their support in my journey to the completion of this thesis. I would also express my gratitude towards my favourite spelling checkers Lotte and Tessa for their extreme focus on letters and punctuation marks and Jonathan for the more rigorous language corrections. Special thanks goes to my sister Floor for being my lay-out support and showing me the wonderful world of web development. Thanks to the numerous people who created forum posts and online tutorials who helped me solve many problems. I have learned many new skills along the way, many of which I did not even know existed.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department.
    [Show full text]
  • Exploring Xenakis Performance, Practice, Philosophy
    Exploring Xenakis Performance, Practice, Philosophy Edited by Alfia Nakipbekova University of Leeds, UK Series in Music Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019931087 ISBN: 978-1-62273-323-1 Cover design by Vernon Press. Cover image: Photo of Iannis Xenakis courtesy of Mâkhi Xenakis. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction v Alfia Nakipbekova Part I - Xenakis and the avant-garde 1 Chapter 1 ‘Xenakis, not Gounod’: Xenakis, the avant garde, and May ’68 3 Alannah Marie Halay and Michael D.
    [Show full text]
  • Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol
    Xenakis on Xenakis Author(s): Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue (Winter - Summer, 1987), pp. 16-63 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833091 Accessed: 29/04/2009 05:06 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org XENAKIS ON XENAKIS 47W/ IANNIS XENAKIS INTRODUCTION ITSTBECAUSE he wasborn in Greece?That he wentthrough the doorsof the Poly- technicUniversity before those of the Conservatory?That he thoughtas an architect beforehe heardas a musician?Iannis Xenakis occupies an extraodinaryplace in the musicof our time.
    [Show full text]
  • 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.
    [Show full text]
  • [email protected] Abstract
    Bridges 2018 Conference Proceedings From the Cheesegrater to the Parthenon: A Musical Odyssey Terry Trickett Barbican, London, United Kingdom; [email protected] Abstract The close relationship that can exist between architecture and music was brought home to me, recently, by one particular building in the City of London. Its architects had not set out to produce architecture with a musical agenda but music can happen anyway when a building generates its own harmony, pattern, discord, repetition and silence. These were the qualities I found in the Leadenhall Building (known colloquially as the ‘Cheesegrater’) which prompted me to produce a piece of Visual Music linking the two art forms. The result, Citirama, enables me to formulate a considered view on how music and architecture can be found to coexist: how our understanding of the concept of space/time can bring an art form concerned primarily in mapping sound in time closer to a form focused on what we experience in moving through space. For a building to elicit an emotional response a chord needs to be struck inside us that delivers an inner sense of harmony. Such an experience is rare even though the synchronicity that exists between architecture and music, underpinned by mathematics and the laws of physics, was discovered long ago by the Ancient Greeks. Introduction As abstract arts, architecture and music share a common aim to create harmony, weave patterns, define spaces, move in time, promote feelings, touch the senses and act as an outward expression of an artist‘s aspirations. Such a statement must, in itself, provoke discord; surely, these aims cannot be achieved in equal measure by both art forms.
    [Show full text]
  • "Visualizing Acoustic Space"
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Visualizing Acoustic Space" Gascia Ouzounian Circuit : musiques contemporaines, vol. 17, n° 3, 2007, p. 45-56. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/017589ar DOI: 10.7202/017589ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 02:16 Visualizing Acoustic Space Gascia Ouzounian Prendre possession de l’espace est le geste premier des vivants, des hommes et des bêtes, des plantes et des nuages, manifestation fondamentale d’équilibre et de durée. La preuve première d’existence, c’est d’occuper l’espace. –Le Corbusier In the decade following the Second World War, “taking possession of space” became an increasingly pressing concern within the Western musical avant- garde. Traditional musical considerations, such as the organization of pitch, rhythm, harmony, and form, were supplanted by spatial considerations, such as the arrangement of performers inside an auditorium, and the abil- ity to channel sound electronically to and between multiple loudspeakers.
    [Show full text]
  • Mapping the Stylistic Affiliations of Le Corbusier's Work 0.1 Prologue
    Le Corbusier, 50 years later International Congress Valencia 18th-20lli November 2015 DOI: http://dx.doi.org/10.4995/LC2015.2015.799 Mapping the Stylistic Affiliations of Le Corbusier's Work P. Ilias Panigyrakis TU Delft, School of Architecture and the Built Environment Abstract: The paper deals with Le Corbusier's connection to the term "style". A classification of his work in specific architectural styles is discussed, followed by a description of the procedure through which the style ofthe man Le Corbusier was constructed; in an attempt to search meaning in his continual stylistic shifts and the rationale that kept his lifetime's work and identity strongly compact when we consider him retrospectively. Resiimen: El articulo trata la conexión de Le Corbusier con el lérmino ëstilo'.'Se disciite una clasificación de su obra en estilos arqiiitectónicos especificos, seguido de una descripción de los procedimientos a través del ciial el hombre fiie construido al estilo de Le Corbusier; un intento de büsqueda de sentido en siis camhios estilisticos contimias y las razones que mantuvo el trabajo y la identiclad de su vida fuertemente compacta, cuando lo consideramos retrospectivamente Keywords: Le Corbusier; Style; Stylistic Shifts. Palabras clave: Le Corbusier; Estilo; Cambios Estilisticos. 0.1 Prologue It is said that Le Corbusier used to keep a picture of his 1914 Maison Dom-ino scheme side by side with a picture ofthe Parthenon from his 1911 visit in Athens. It is also known that he viciously fought against the talk of styles m the architectural discourse. How should we interpret then the above mentioned coupling of Dom-mo, the epitome of technique of the 20th century architecture, along with the Parthenon, the most imitated object of any iconographic style prior to Modernism? This research will argue for the stylistic affiliations of Le Corbusier's work in an attempt to map the trajectory of architectural forms applied hi the extensive work ofthe legendary architect.
    [Show full text]
  • Poème Électronique
    INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Vol. 2. Issue No. 1 INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA THE DISRUPTIVE The installation Poème Électronique involved the collaboration groups, with different performances in order to compose the RELATIONS BETWEEN of an architect and painter (Le Corbusier), a composer and visual narrative (Kalff, 1958, p. 38): architect (Iannis Xenakis) and a composer (Edgard Varèse), SOUND AND IMAGE IN who were commissioned by Philips to work on the develop- 1. Film (écran in the original): projection of a black and white ment of a pavilion for the Brussels World Fair in 1958. Seen film. POÈME ÉLECTRONIQUE by over two million people, the pavilion provided new ways of working on the concepts of composition, performance and 2. Ambiences (ambiances in the original): projection of chro- ABSTRACT: perception, as well as offering one of the first sound spatiali- matic illuminations with the intention of creating atmospheres NICOLAU CENTOLA sation initiatives. and sensations. UNESP (Universidade Estadual Paulista Júlio de Mesquita Filho) This academic paper focuses on the installation [email protected] art Poème Électronique, which involved the col- The Brussels World Fair in 1958 was the first to be held after 3. Tritrous: Projection of simple geometric shapes and imag- laboration of a painter and architect (Le Corbus- the Second World War and had as its theme the new tech- es on the walls of the pavilion. As a complementary effect, two ier) and a composer (Edgard Varèse) during the nologies in the service of civilisation after the horrors of the projectors were used that had been specially adapted so that 1958 Brussels World Fair.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]