Construire L'image Bilder Bauen the Constructed Image
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Desvelando Las Claves Del Proceso Creativo De Le Corbusier a Través Del Poema Del Ángulo Recto
Desvelando las claves del proceso creativo de Le Corbusier a través del Poema del Ángulo Recto Revealing the keys to the creative process of Le Cor- busier through the Poem of the Right Angle MARÍA ISABEL ALBA DORADO Escuela Técnica Superior de Arquitectura. Universidad de Málaga [email protected] Recibido: 03/09/2018 Aceptado: 29/09/2018 Resumen Le Corbusier, quien durante los años 1947 y 1953 diseñó algunas de las obras arqui- tectónicas y urbanas más importantes del siglo XX, también desarrolló una de las creaciones artísticas más interesantes de toda su carrera: el Poema del Ángulo Recto. En esta obra, Le Corbusier reflexionaba acerca de aspectos relacionados con la creación que nunca antes había expresado. Él siempre atribuyó a este poema este papel fun- damental, considerándolo como una síntesis de su pensamiento y de su actividad creativa. En este sentido, el presente artículo se propone desvelar, a través del estudio del Poema del Ángulo Recto, pero también del análisis de sus escritos, proyectos, obras, dibujos y apuntes de viaje, ese lugar imaginario que precede y en el que se asienta su actividad creativa, con el objetivo de conocer mejor no sólo su obra, sino también as- pectos acerca del proceso creativo del que surge esta y de su pensamiento. Palabras clave Poema del Ángulo Recto, Le Corbusier, proceso creativo. Keywords Poem of the Right Angle, Le Corbusier, creative process. Arte y Ciudad - Revista de Investigación 101 ISSN 2254-2930 // e-ISSN: 2254-7673 Nº 14 – Octubre de 2018 (pp. 101 - 114) http://dx.doi.org/10.22530/ayc.2018.N14.479 MARÍA ISABEL ALBA DORADO _____________________________________________________________________________________ Abstract Le Corbusier, who during 1947 and 1953 designed some of the most important architec- tural and urban works of the 20th century, also developed one of the most interesting artistic creations of his career: the Poem of the Right Angle. -
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. -
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 -
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. -
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. -
Colin Rowe: Space As Well-Composed Illusion
Colin Rowe: Space as well-composed illusion Christoph Schnoor ‘Space-talk’ It seems almost certain that space-talk made its decisive entry into the critical vocabulary of American and English architects with the publication of Sigfried Giedion’s Space, Time and Architecture in 1941, and Nikolaus Pevsner’s An Outline of European Architecture in 1943. Certainly, before the early 1940s, English-speaking readers appear to have been relatively underexposed to the analysis of buildings in terms of space and, since then, have come to accept such analysis (Bruno Zevi, Architecture as Space, 1957, might be an instance) as a relative commonplace; and, quite possibly, Le Corbusier might be taken as a representative of something to the same effect related to French usage. For, while Le Corbusier’s publications seem to be distinctly ‘dumb’ as regards space-talk, with him too the new critical vocabulary (‘ineffable space’) seems to insinuate itself during the course of the 1940s and to become explicitly advertised in New World of Space (1948). However this may be, when Anglo- American usage is considered, there remain two, possibly three, exceptions to what has just been stipulated: Bernard Berenson; his disciple Geoffrey Scott; and, maybe, Frank Lloyd Wright.1 British-born architectural historian Colin Rowe is well known for his intriguing analyses of modern architecture. But rarely did Rowe examine architectural space explicitly as a scholarly subject-matter as he commences to do here, in this footnote to a 1979 lecture. And even as he does, the topic seems to be to him of such insignificance that it can only be picked up with a note of contempt: ‘space-talk’ does not imply that anything serious could lie behind the word. -
FLC Bulletin
informations 027 MARCH MARS 2005 Il y aura bientôt quarante ans, le 27 août 1965, Le Corbusier alors en vacances comme chaque été à Le Corbusier dans son Cabanon à Roquebrune-Cap-Martin - FLC L3(5)5 Roquebrune-Cap-Martin, succombait à une crise cardiaque en se baignant sur la plage au pied du cabanon qu’il avait Funérailles de Le Corbusier e et conserve un patrimoine important d'œuvres d'art, eux faire connaître la pensée et l'œuvre de Le Corbusier. construit auprès de l’Étoile de mer. Le soir du 31 août, les dominicains au nom du Gouvernement français du couvent de la Tourette, déposaient Nuit du 1er septembre 1965 son cercueil devant l’autel de l’église conventuelle. Cour Carrée du Louvre Le 1er septembre son corps reposait Au moment où le Gouvernement décidait la déesse pensive incline une fois de pour quelques heures au 35, rue de de rendre à Le Corbusier l’hommage plus sa lance sur un cercueil. Sèvres, près de son atelier, devant la solennel de la France, il recevait le Il est beau que soient présents les tapisserie “Les dés sont jetés”. télégramme suivant : mandataires des temples géants et Dans la soirée, vingt soldats porteurs “Les architectes grecs, avec une pro- des grottes sacrées, et que cet hom- de torches l’escortaient au rythme de fonde tristesse, décident de déléguer mage soit l’hommage de l’eau et de la la Marche funèbre de Beethoven, dans leur président aux obsèques de Le terre. la Cour Carrée du Louvre, où, en Corbusier, pour déposer, sur sa Car c’est bien à un symbole fraternel tombe, de la terre de l’Acropole.” que s’adressent ces symboles. -
PODCAST NOTES.Xlsx
GENERAL CORBUSIER BACKGROUND/BIOGRAPHY ‐BORN IN 1887, NEE CHARLES‐EDOUARD JEANNERET IN SWITZERLAND IN 1887 ‐1914 DEVELOPS "MAISON DOM‐INO" PROTOTYPE FOR MODERN HOUSE THAT DOES NOT RELY ON WALLS FOR STRUCTURE ‐1917, OPENS HIS FIRST PARIS ARCHITECTURE STUDIO ‐BECOMES FRIENDS WITH LEGER, PICASSO, BRAQUE, GRIS, OZENFANT ‐1920, ADOPTS THE PSEUDONYM "LE CORBUSIER" FROM HIS MATERNAL GRANDFATHER LECORBESIER ‐1922, STARTS ARCHITECTURAL PARTNERSHIP WITH PIERRE JEANNERET ‐1923, PUBLISHES "VERS UNE ARCHITECTURE", MIS‐TRANSLATED INTO ENGLISH AS "TOWARDS A NEW ARCHITECTURE" ‐ 5 POINTS OF ARCHITECTURE (BEST REPRESENTED BY THE VILLA SAVOYE); 1. PILOTIS, OR A GRID OF COLUMNS; 2. FREE DESIGN OF THE FLOORPLAN; 3. FREE DESIG OF THE FAÇADE (EXTERIOR OF THE BUILDING DOES NOT HAVE TO CORRESPOND TO INTERIOR ROOMS OR FUNCTIONS); 4. HORIZONTAL (RIBBON) W ‐1925, MEETS GERTRUDE STEIN, WILL LATER BUILD THE VILLA STEIN, SOUTH OF PARIS (UNFORTUNATELY NOW CONVERTED TO CONDOS) ‐1930 BECOMES FRENCH DAY # DATE ARRON. LE CORBUSIER NON‐CORBUSIER ACTIVITIES RESTAURANTS, SHOPS AND LOCAL ATTRACTIONS NOTES 1 2/15/20 1ST/7TH DROPPED OFF OUR LUGGAGE AT HOTEL MONTALEMBERT 3 RUE MONTALEMBERT HIGHLY RECOMMEND THIS HOTEL‐ GREAT LOCATION; GREAT STAFF (ROOMS A BIT SMALL, BEDS A BIT HARD; ROOM SERVICE EXPENSIVE, BUT WOULD STAY HERE AGAIN IN A MINUTE) WALK TUILERIE GARDENS TO GRAND PALAIS AND BACK HERMES FAUBOURG SAINT‐HONORE, BISTRO FRANCOIS FELIX DISCOVERED ROOM AT BACK OF HERMES THAT SELLS ONE OF A KIND GIFT ITEMS UNDER/AROUND $200/EUROS WALK ST GERMAIN DE PRES‐ RUE DE BAC TO LA GRANDE -
PINA BAUSCH LE CORBUSIER BOTERO C U L T U R a L C O N T E N T
PINA BAUSCH LE CORBUSIER BOTERO c u l t u r a l c o n t e n t plastic arts photography architecture design movie theater 15th, 2021 / for free content / No. 3 February / Magazine of cultural music 3913 dance literature theater OBJET TROUVÉ In this third installment 3913 continues immersed in the world of dance. This time it’s Pina Bausch with one of her best choreographies, Café Müller, forty-five minutes of pure melancholy. And still with architecture, it’s the turn of one of the greatest of the twentieth century, the great polyphonic, overflowing, plural, Le Corbusier. We end with the colossal Colombian painter/sculptor Fernando Botero and his close connection with the Italian Quattrocento through Piero della Francesca. Idea, concept and production Rosingui Perez and CayDesign. Translation: Helen McNally (Eng). Tipography: Flama Basic, PMN Caecilla. Contact: [email protected] / +34 625 056 562 / +34 644 811 429 / @treintaynuevetrece Every show of hers is a shudder, a shock, a feast for the intelligence and the senses, from which she rarely leaves unscathed. From overflowing joy to the most unfathomable sadness, the territories of the brilliant creator are the uneasy and rugged zones of the human soul, a continuous bustle of splintered feelings, which at the end of each trip When Pina Bausch enters your life, she stays forever. transforms us into images of such pure beauty that it moves and comforts us. Desire and joy, hope and melancholy, aggression and seduction, hysteria and tenderness, euphoria and distrust, nostalgia, anguish and pain for unsatisfied love, loneliness, the isolation between men and women. -
Mise En Page 1
PRESS DOSSIER On the terrace of the Etoile de Mer : Le Corbusier, his wife Yvonne, Jean Badovici and Robert Rebutato as a child. 26 JUNE INAUGUR20A 15 - TION OF CAP MODERNE Three emblematic architectural achievements on an outstanding natural site at Roquebrune-Cap-Martin (Alpes Maritimes, France) 26 JUNE 2015: INAUGURATION OF THE CAP MODERNE SITE 2 E-1027 EILEEN GRAY AND JEAN BADOVICI’S VILLA (1927-1929) LE CABANON AND HOLIDAY COTTAGES LE CORBUSIER’S SEASIDE-HOLIDAY ARCHITECTURE(1951 & 1957) L’ÉTOILE DE MER THOMAS REBUTATO’S BAR-RESTAURANT (1949) At Roquebrune-Cap-Martin on the their efforts to ensure that the villa can at Since September 2014, the Cap French Riviera, just across the bay from last be opened up to the public. Moderne Association has been charged Monaco, there is a remarkable collection The official inauguration will take place by the Conservatoire du littoral with the of buildings, now known as “Cap on 26 June, though the site will be open management and development of the Moderne”, comprising Eileen Gray’s Villa to visitors as a full preview from May 1 st . site. Cap Moderne, which arose from E-1027, Le Corbusier’s Cabanon and From this date, access will be possible to a rapprochement between the Eileen holiday cottages and the Etoile de Mer every part of the site; however, given its Gray–Le Corbusier Endowment Fund bar-restaurant. extremely fragile condition, only guided and the Eileen Gray- Étoile de Mer- This is a site of major importance in tours of small groups of visitors will be Le Corbusier Association, is chaired by the history of 20 th century architecture, allowed, and exclusively by prior booking Michael Likierman, with Robert Rebutato to which the international scientific on the website www.capmoderne.com as vice-chairman.