Charles-Édouard Jeanneret-Gris (Le Corbusier)

The penthouse of Charles de Beistegui in Paris is a unique example in Le Corbusier's architectural production, in which the architect confronts himself, in an unconventional project, with the strong personality of the client. As most of the studies published on the subject limit themselves to considering the space layout without its furniture, the paper examines the project in its entirety, with the aid of unpublished and little-known documents, starting from the relationships between Le Corbusier and the surrealist movement and paying particular attention to the innovative aspects of the interior arrangement culminating with the pavilion of the camera obscura with the periscope and in the experience of the roof-terrace.

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This chapter looks at several works produced by architects and students in order to discuss and illustrate some uses of the comics medium as a tool both to visualise and explain, to develop stories and discourses, and start morphogenetic processes that lead to novel architectural form, or even rethink architectural space.

The “Plan Voisin” for Paris dated 1925, is one of the most notorious urban projects by Le Corbusier. In it he implements his first real model of the modern city: “The city of Three Million Inhabitants”, drawn for the Autumn Exhibit on 1922. Both projects have a close and direct relation. While one proposes a theoretical model, the other develops how to implement it in the center of Paris. Therefore, both projects can be understood as the same approach but in two different moments. In Le Corbusier’s books, the graphical representation of the projects reflect this, although the documents tend to contradict it. In his “Œuvre complète”, for example, the number of images differs for each case. While the project “The city of three million Inhabitants” is represented by a generous amount of drawings and plans (around 20 images), the “Plan Voisin” adds up to a maximum of five specific images. In the book “Urbanisme” the proportion is of images is similar. This This is a cause of scarce comp...

In 1946, shortly after the end of the Second World War and as the re-building of Europe began, in a special issue of a professional architectural journal dedicated to the synthesis of the arts, Le Corbusier, perhaps the world’s most influential architect at the time, published a short, seemingly innocuous treatise titled “L’espace indicible”. It opens with the author recognizing nature’s “harmonious orchestration of space” as entirely phenomenal, as “the reflection of light.” Ineffable space is, Le Corbusier writes, a “vibration” between the “action of the work (architecture, statue, or painting)” and the “reaction of the setting: the walls of the room, the public squares... the landscape.” It is a “phenomenon of accordance [...] as exact as mathematics, a true manifestation of plastic acoustics.”
    Though Le Corbusier states that the effect of this evocation results from the proportions of the work, not its subject matter – and in this he is reiterating much of what he wrote in his famed Vers une architecture twenty-three years earlier – his elaboration suggests psycho-sensorial sensations extending well beyond proportions.
    This chapter is concerned with the manifestation of the psycho-sensorial in architecture and with the implications of Le Corbusier’s modification—indeed, wholesale alteration—of theory after the War’s end.

Coloring the Wisdom of Nature: Find Inspiration Within

There are many benefits of reading books, including intellectual and psychological capacity increase. Every single book you read offers you endless opportunities of exploring and learning new ideas. When you read, you gain information and knowledge and you have a plethora of other benefits as well.

Reading helps your vocabulary

According to researchers, children who regularly read books at an early age develop large vocabularies in the long run. When the child has the benefit of vocabulary, they affect their academic success by passing the different set tests, eventually getting college admissions, and having vast job opportunities.

Many employers are looking for people with soft skills, such as communicating clearly. The benefits of reading books include exposing the reader to new words directly from the read context and increasing your soft skills.

Vocabulary growth is an inevitable consequence of reading. The more you read, the more you expose yourself to new words that slowly become a part of your usual repertoire. This is probably one of the most relevant pros of reading books and one you should definitely learn to take full advantage of.

Picasso’s “Mandoline et guitare”—overtly a colorful still life with musical instruments and fruit on a table in front of an open window—is a highly ambiguous painting consciously construed as a hidden head.  This  second reading of the still life as a pirate head questions the content obvious in the primary reading. Picasso's ambiguity encourages viewer awareness of visual perception. A lesson in the nature of representation, the painting also exudes a sense of the uncanny. It is secretly inhabited, conjoining cult value with exhibition value, insisting that 'other worlds' are located within the world we inhabit.
Could such ambiguity be employed in architecture to suggest other worldliness? Le Corbusier revered Picasso.  He understood and appreciated the famed artist’s ambiguity. After Hiroshima rendered architecture's alliance with high technology suspect in 1945, Le Corbusier brought the ambiguity exemplified in Picasso's painting-together with its potent other-worldliness to Modern Movement architecture.
This is an English translation with a greatly enhanced illustrative text of “Encantrando rostros” published in Ra Revista de Arquitectura in 2009.

Resumen: Este trabajo analiza, por diversos medios, el proyecto de la capilla mortuoria con dos tumbas para el expresidente militar Carlos Delgado-Chalbaud y su padre. El encargo, no realizado, fue el único que, tras varias tentativas, pudo ejecutarse en Caracas, Venezuela. Le Corbusier archivó este proyecto como un “Monument”, y dentro de su trayectoria solo estuvo precedido por otro de carácter funerario dedicado al Mariscal F. Foch en la Porte Maillot de París y, posteriormente, diseñará su propia tumba en Cap Martin. Esto convierte al proyecto de Caracas, prácticamente desconocido, en un caso singular dentro de las tipologías funeraria y religiosa. La reconstrucción planteada se sustenta en la documentación conservada, el análisis histórico de las fuentes documentales, el empleo de la perspectiva clásica y las herramientas digitales para aportar precisiones y avances sobre estudios previos. En paralelo, la comparación con propuestas formales similares, enmarca el objeto de estud...

AR Prabhawalkar:
Le Corbusier’s Versatile Comrade & Founder Principal of Chandigarh College of Architecture

Sarbjit Singh Bahga

After India achieved Independence and its subsequent Partition in 1947, the Indian state of Punjab lost its capital to Lahore. The newly formed Union Government, led by Pandit Jawaharlal Nehru - the then Prime Minister of India, decided to construct a new capital for Punjab - Chandigarh. A team of internationally renowned architects, including Le Corbusier, Pierre Jeanneret, Maxwell Fry, and Jane Drew, was chosen to plan and design the new capital from scratch in the foothills of the Shivalik Hills.
In addition to these foreign experts, a large team of Indian architects was also required to assist them. An advertisement was placed in the newspapers, stating, "An opportunity to work with some of the finest architects and town planners in the world." As requested by Le Corbusier, an entrance examination was held for the applicants. Among the architects selected were AR Prabhawalkar, MN Sharma, UE Chowdhury, Aditya Prakash, SD Sharma, Jeet Malhotra, Piloo Mody, JS Dethe, NS Lamba, BP Mathur, to name a few.
AR Prabhawalkar (Anantrao Ramchandra Prabhawalkar) (1923-1974), who hailed from the State of Maharashtra, joined the Chandigarh Capital Project on 3rd January 1952 as an Architect. It is said that AR Prabhawalkar possessed a unique calligraphic handwriting style, which was greatly admired by Le Corbusier, an accomplished graphologist able to decipher character traits through handwriting. All of Prabhawalkar's former colleagues, subordinates, and students, with whom the author has been able to communicate, have attested to his brilliance as a professional, his exceptional character, his eloquence as an orator, and his prowess as a writer.
Out of the entire team of Indian architects selected to assist the foreign masters, Prabhawalkar had a unique ability to encompass a broad spectrum of all associated fields of architecture. On the one hand, he had an eye for miniature furniture design details; on the other hand, he could easily imagine and work on the town-planning scale. Architecture was his first love. Due to these qualities, Prabhawalkar established a close working relationship with Le Corbusier and Pierre Jeanneret.
Resultantly, Le Corbusier handpicked AR Prabhawalkar to assist him in the realisation of his key projects, such as the Legislature Assembly Building in the Capitol Complex, City Centre in Sector 17, Government College of Art and Craft in Sector 10, Sukhna Lake, and the Leisure Valley. AR Prabhawalkar also designed the Interstate Bus Terminus in Sector 17, in collaboration with Aditya Prakash.

Since Le Corbusier so forcefully propagated a new urban and architectural dispensation, there is a misconception that he disregarded history and that he conceptualised projects rationally and without preconceived ideas. Focusing on his town-planning schemes, this article provides substantiation that Le Corbusier's urban ideas are intrinsically connected to ideas essentially derived from historical sources. Le Corbusier se idees aangaande dorpsbeplanning en geskiedkundige idees Aangesien Le Corbusier so kragdadig gepropageer het vir 'n nuwe stedelike en argitektoniese bedeling, heers daar 'n wanbegrip dat hy geskiedenis verontagsaam het en dat hy projekte sonder vooropgestelde idees rasioneel gekonseptualiseer het. Met 'n fokus op sy dorpsbeplanningskemas bied hierdie artikel stawing dat Le Corbusier se stedelike idees wesenlik gekoppel is aan idees wat hoofsaaklik aan geskiedkundige bronne ontleen is.

El escenógrafo pone al servicio de la filmación recursos de otras artes como el teatro, la pintura, la escultura y, en mi opinión, principalmente la arquitectura. Interiores sucesivos, exteriores y paisajes intervienen de modo encadenado en las filmaciones, incluso encajados con lo asombroso como con el interior del cuerpo humano en el ejemplo de Viaje alucinante de Richard Fleischer (1966), o los trabajos de las escenografías de Alexander Trauner para el filme de Fred Zinnemann Historia de una monja (1959), los decorados para Roman Polanski de El baile de los vampiros (1967), los de 2001: Una odisea del espacio de Stanley Kubrick (1968), El increíble hombre menguante de Jack Arnold (1957), los del film El sueño de una noche de verano (19359) de William Dieterle y Max Reinhardt, los de El apartamento de Billy Wilder (1960), e incluso los de Star Wars: Episodio V de lrvin Kershner (1980).

the french as eternal producers of belle peinture. through japonisme and other isms. the "dangerous"  rapprochement between gestural abstraction and tapestry design in the works of thie the adventures of G, Mathieu and J. Lurçat among others. no way out?

ΚΕΦΑΛΑΙΟ Ι. Ο κυβιστής Pablo Picasso και οι Δεσποινίδες της Αβινιόν (Les Demoiselles d’Avignon).
ΚΕΦΑΛΑΙΟ ΙΙ. Charles-Édouard Jeanneret ή Le Corbusier και η Villa Savoye στο Poissy.
ΚΕΦΑΛΑΙΟ ΙΙΙ. Η Ιεροτελεστία της Άνοιξης του Igor Fyodorovich Stravinsky.

Resumen: Este trabajo analiza, por diversos medios, el proyecto de la capilla mortuoria con dos tumbas para el expresidente militar Carlos Delgado-Chalbaud y su padre. El encargo, no realizado, fue el único que, tras varias tentativas, pudo ejecutarse en Caracas, Venezuela. Le Corbusier archivó este proyecto como un “Monument”, y dentro de su trayectoria solo estuvo precedido por otro de carácter funerario dedicado al Mariscal F. Foch en la Porte Maillot de París y, posteriormente, diseñará su propia tumba en Cap Martin. Esto convierte al proyecto de Caracas, prácticamente desconocido, en un caso singular dentro de las tipologías funeraria y religiosa. La reconstrucción planteada se sustenta en la documentación conservada, el análisis histórico de las fuentes documentales, el empleo de la perspectiva clásica y las herramientas digitales para aportar precisiones y avances sobre estudios previos. En paralelo, la comparación con propuestas formales similares, enmarca el objeto de estud...

The purpose of this article is to explore the effect of the philosophy of Nietzsche on Francis Picabia, and to determine the nature of the Nietzschean influence on Picabia’s Dada work. In the years before Dada art, Pica-bia’s artistic ideas evolved around concepts such as ‘pure art’ and the equivalence of music and painting. In the first section these aesthetic qualities of ‘Orphic-Cubism’ are considered in relation to the Nietzschean ideas that Picabia was exposed to through such figures as Gabrielle Buffet and Apollinaire. The second section considers the long-neglected question of Nietzsche’s importance to Dada art. Dada’s acknowledgement of Nietzsche is briefly indicated. A foundational outline is offered as a theoretical proposition towards a Nietzschean interpretation of Dada’s incongruous and arbitrary views of art. The last two sections approach Picabia’s Dada art from this theoretical background. Picabia’s written and literary references to Nietzsche are analysed and discussed. Secondly, central themes in Picabia’s visual art which reflect his Nietzschean views, are considered.

Inscrite au Label « Architecture contemporaine remarquable » en 2016, l'église Sainte-Thérèse de Vasperviller (57) construite entre 1967 et 1969 sur des plans de l'architecte Carl LITZENBURGER (1912-1997), est la seule église en Province qui perpétue l'héritage corbuséen en Art Sacré.

Ce document présente l'ensemble des vidéos réalisées et Playlists de la chaîne YouTube spécialement créée pour faire la promotion de ce joyau de l'architecture contemporaine, pas encore assez connu.


Dernière mise à jour : 2 mars 2024

Resumen: Entender la evolución de la idea de la promenade en la crítica corbuseriana. Cómo la idea ha ido pasando de la idea del movimiento al pintoresquismo, a lo cinematográfico y finalmente a la idea de montaje. Leyendo Le Corbusier entender que lo mas relevante de la promenade es la idea de lo inesperado para el espectador. Entender de dónde viene esta idea de lo inesperado a través de la formación de Le Corbusier y, sobretodo, a partir de su formación en la crítica del S.XIX. Especialmente importante para entender la idea de lo inesperado es el libro de Mornings in Florence de Ruskin, en especial su descripción de la capilla de los españoles. Esta capilla también será objeto de estudio por Le Corbusier y, en ella, reconoce la importancia de lo inesperado en arquitectura. : The first objective of this paper is to understand the evolution of the idea of promenade in Le Corbusier’s critic. The paper follows how the idea has changed from the movement to the picturesque, to the cine...

Este artículo analiza la obra y trayectoria de Giorgio Morandi con respecto a su participación tanto en la escuela metafísica italiana como en el grupo regional Strapaese. Sus autorretratos y bodegones demuestran que la expresión de Morandi de una estética metafísica engranaba con las estrategias de autorrepresentación del movimiento. Morandi imitó los autorretratos de De Chirico y el uso de maniquíes, promoviéndose como un artista metafísico y recalcando su propio intelecto. En 1920, en respuesta al nacionalismo italiano, Morandi se desplazó hacia el arte de Piero della Francesca, Cézanne y Soffici. Esto, finalmente, llevó al arista a crear imágenes de la Italia rural, lo cual le permitió ingresar al movimiento regionalista, cuyos críticos lo acogieron debido a su retorno a la tradición. Aunque este cambio en el estilo ha sido interpretado en términos formales, sostengo que, al abandonar la escuela metafísica, Morandi participó en el “regreso al orden” tanto político como cultural ...

From the 1930’s on, a variant in the western architecture of movie theatres built in previous decades came to light. This variant, smaller and more unassuming in its decoration and size, was the result of another economic context and, above all, of a novel programming of newscasts and documentaries in short sessions and continuous slideshows called, depending on the country of your projection, ‘newsreels’, ‘cinegiornali’, ‘actualités filmées’, or ‘wochenschauen’. The establishment of the chain of movie theatres ‘Cinéac -cinéma et actualités’ in French-speaking countries, mainly by the entrepreneur Reginald Ford, gave rise to the proposal of spatial and technical answers to the demands of aspects such as acoustics, optics, a continuous flow of people, safety or ventilation, from the sector of architecture which was most functionalist. In this article the Cinéac built by the architects Adrienne Gorska and Pierre de Montaut, pioneers in projects for this program of leisure, will be ana...

Le Corbusier simboliza el urbanismo moderno racional, cuyo riguroso esfuerzo de planificación requiere un esfuerzo paralelo de comprensión. Se opone a este urbanismo contemporáneo que quiere percibir y disfrutar la ciudad con sensatez. Sentimiento y razón, sin embargo, no son opuestos y Le Corbusier nos dio en su momento claves para intentar una síntesis, uniéndolos de manera singular mediante sus 'boîtes à milagros' o 'cajas mágicas' esos "espectáculos arquitectónicos de síntesis". que definió en el IX Ciam, 1951. Este trabajo trata de aproximarse al primero de estos espectáculos: el 'diorama', entendiéndolo como estrategia corbuseriana de mediación entre lo racional y lo sensible en la ciudad moderna y contemporánea.

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Le Corbusier symbolizes rational modern urbanism, whose rigorous planning effort requires a parallel effort of understanding. It opposes this contemporary urbanism that wants to perceive and enjoy the city sensibly. Feeling and reason, however, are not opposites and Le Corbusier gave us at the time keys to try a synthesis, uniting them in a singular way by means of his 'boîtes à miracles' or 'magic boxes' those "architectural spectacles of synthesis" that he defined in the IX Ciam, 1951. This paper tries to approach to the first one of these spectacles: the 'diorama', seeing it as Corbuserian strategy of mediation between the rational and the sensible in modern and contemporary city.