Cubism

Pioneering research by Marianne Teuber indicated the influence of William James’ theories of visual perception on early Cubism, transmitted via the personality of Gertrude Stein. This article takes up this research by qualifying that the complexity of James’ theories did not make them immediately applicable to painting practice and nominates instead the simpler theories of Bernard Berenson as the body of ideas about the necessity of touch to inform vision as underlying the earliest efforts of Braque and Picasso. In this way, one is able to better understand the way in which early Cubist critical writing incessantly notes how touch overcomes perspective distortion. Noting Berenson’s currency in French intellectual circles, it is clear at the same time that Berenson was the unwitting source of these ideas and did not promote them individually

John Berger writes that ‘The Cubists created a system by which they could reveal visually the interlocking of phenomena’. (Berger, 1965, p.59) It ‘created the possibility in art of revealing processes instead of static states of being’ (Berger, 1965, p.59). This shift of emphasis from single point perspective to multi-perspective explicit realizations of the interactions of interlocking phenomena, was, and remains, revolutionary. In 1965 Berger confidently predicted that ‘the next serious innovators’ would need to return to Cubism. (Berger,1965, p.70) The revolutionary nature of the Cubist way of seeing lies in the graphic revelation of human agency. This paper explores the aesthetic propositions of Cubism and explores how these have impacted on my own and others Fine Art research practice.

Insofar as semiology examines language synchronically, there is question about its application within a specifically art-historical discourse. A productive test case for analysing the potential conjunctions and disjunctions between art historiography and semiology is the re-examination of Cubism by October critics Yve-Alain Bois and Rosalind Krauss. At the 1989 Picasso and Braque symposium held at the Museum of Modern Art, both Bois and Krauss presented important papers that utilized semiology as an interpretative method for elucidating the collages and papier collés of Synthetic Cubism. In both of their presentations, historiographic questions and the inaugural character of collage are repeatedly highlighted. Bois' essay exhibits an effort to think through the process that led to the epistemological break of the paper collés, and for Krauss the issue of art-historical method is raised, particular the antimony between formalist versus socio-historical paradigms. This paper explores the semiological approaches taken by Bois and Krauss and considers their fecundity for the art-historical study of Synthetic Cubism. However, in doing so, it seeks to resist the notion that Cubism is viewed through the lens of semiology as if such a theoretical approach merely constitutes an interpretative model that can used or not. On the contrary, this paper aims to suggest that Cubist collage functions as a model: firstly, as a model for understanding semiology rather than vice versa, and secondly as a model for our art-historical accounts of Cubism. By examining how Cubist collage establishes the condition of possibility for its interpretation, I hope additionally to shed light on October's overall turn from art criticism engaged with theorizing contemporary art to a more genealogical writing that will define the journal's output from the late 1990s onwards. That is to say, collage becomes a potential model for art history tout court.

Creative writing, creative projects, and projects involving creativity incorporate high personal investment from students. The work generated from this input can be used as a “springboard” to deepen general learning. When conducted in English Medium Instruction classes (EMI), or in classes with related forms of teaching, the learning of English as an Additional Language (EAL) can be enhanced as a by-product (as implied by Allwright, 2013, p.6). As part of an EMI course designed by the author, second-year undergraduate comparative culture majors at a Japanese university explored aspects of creativity by researching elements of twentieth century art movements, including writing methods. From these literary guidelines students produced their own creative work, which ultimately appeared as part of a whole-class poster presentation. Among other features, students focused on the history and certain literary personalities of the movements as part of their research. The main interests of this article are learner autonomy, agency and growth generated a) from using this creative student-produced work, and b) from engagement with the research and creative material. It shares details of class activities and evaluations from the yearlong course, including examples of student literature. Learner rather than language development holds the stronger focus of the paper. However, as the lessons were conducted in a foreign language (English), aspects of language development are touched upon.

Ein weiterer Zug seiner Originalität liegt in der Art, wie er deutsche und französische Kultur verarbeitet und zusammenführt. Ich wüßte keinen Kritiker in Europa, der mit derselben Sympathie und demselben Verständnis über Madame de Noailles und Simmel, über Marcel Proust und Max Scheler zu schreiben vermöchte.

RESUMEN La historiografía cubista desarrollada a lo largo de los años sesenta y setenta insiste en fechar el desarrollo del movimiento entre 1907 y 1914. Sin embargo, esta datación, dando por hecho que el estallido de la guerra dispersa a artistas y marchantes, pasa por alto una realidad que algunas publicaciones de los años ochenta y posteriores tratan de poner en evidencia: la continuación del cubismo por parte de una serie de artistas ya cubistas con anterioridad a la guerra y de la talla de Juan Gris, Georges Braque o Fernand Léger, a los que se unen otros que aportarán nuevas vías de investigación como son Jacques Lipchitz o Henri Laurens, todos ellos al amparo de un joven marchante francés, Léonce Rosenberg, y su galería L'Effort Moderne. ABSTRACT The history of Cubism established during the nineteen sixties and seventies that the movement developed between the years 1907 and 1914. This date however, due to the outbreak of the war, which meant that artists and art-dealers were dispersed around the world, ignores a fact which some publications during the nineteen eighties attempted to point out: the continuation of cubism by certain artists who had already been cubists before the war such as Juan Gris, Georges Braque or Fernand Léger, in addition to others who were to join them and contribute new lines of investigation such as Jacques Lipchitz or Henri Laurens, all of whom were supported by a young French dealer, Léonce Rosenberg and his gallery L'Effort Moderne. PALABRAS CLAVES: Cubismo, Historiografía. KEY WORDS: Cubism, Historiography. Diversas y enormemente amplias pueden ser las vías de investigación que se nos abren cuando hablamos de cubismo, así como enormemente vasta es la bibliografía que se ha dedicado al tema desde la propia época de formación del movimiento hasta nuestros días. Sin embargo, y aunque parezca imposible, aún hay reductos poco estudiados dentro del marco del cubismo. Sin salir del París que lo vio nacer, sin lugar a dudas no será la época heroica del cubismo la que esté falta de investigación; y por el contrario no podemos decir lo mismo de lo

Edition, annotation et présentation d'une source épistolaire : la correspondance de Fernand Léger à André Mare, et l'épouse de ce dernier, Charlotte (née Merlin). 50 lettres échangées entre 1906 et 1932, qui permettent d'aborder sous un jour nouveau à la fois la vie et l'oeuvre de deux amis d'enfance, originaires de la même ville de Normandie, avant de s'affirmer comme des figures majeures de l'avant-garde artistique de Paris du début du XXe siècle.

Quatrième de couverture :
Natifs d’Argentan (Orne), le peintre Fernand Léger (1881-1955) et le décorateur André Mare (1885-1932) partagent un même goût du dessin à l’adolescence et débutent ensemble, à Montparnasse, leur parcours artistique. Cette correspondance inédite apporte de précieux éclairages sur leurs œuvres graphiques et révèle l’enjeu d’une amitié stimulante quant à leur vocation d’artistes. Si leurs styles sont différents, Fernand Léger fait également œuvre de décorateur au fil de ses tapisseries, mosaïques, vitraux et céramiques et André Mare œuvre de peintre, de ses fameux Carnets de guerre à ses délicats portraits d’intimes et tableaux de paysages normands.
Charlotte Mare, née Merlin (1883-1964), est l’amie d’enfance d’André Mare qu’elle épouse en 1910 avec Fernand Léger comme garçon d’honneur. Aussi, cette correspondance dotée d’une iconographie rare est-elle largement enrichie d’extraits de lettres échangées entre André et Charlotte et des mémoires inédits de cette dernière qui fut cantatrice et professeure de chant.

Cette correspondance est préfacée par Michel Onfray, également natif d’Argentan. Elle est présentée et annotée par Tristan Rondeau, chercheur, diplômé de l’École des Hautes Études en Sciences Sociales. Elle est précédée de textes introductifs des historiens Laurence Graffin, Yves Chevrefils Desbiolles, Jean-Christophe Orticoni et Benoît Noël.

“The transparency essay,” as it is known in schools of architecture around the world, remains required reading in many programs. With it comes the trap of conflating theoretical exegesis and design methodology – a danger that increases in inverse proportion to the age and experience of the audience. As Colin Rowe and Robert Slutzky construct a complex relation of ideas expressed with sophisticated and nuanced language they resort to verbal and visual slights of hand – creating an articulate, albeit problematic architectonic frame around the early paintings of Picasso, Leger, Ozenfant, and Le Corbusier. I examine how Rowe and Slutzky tell their story of transparency, the structure of which is fundamentally obtuse and mythic, yet is delivered as if it were the product of a transparent and logical imperative, free from belief systems and subterfuge.
To help illuminate this argument I focus on the discourse surrounding the “Modernist” or “Cubist” garden in early twentieth-century France – specifically the work of the architect and garden designer, Gabriel Guévrékian. During the last twenty years, evaluations of Guévrékian’s designs of gardens were criticized and largely discounted, owing to the relatively transparent influence of “the transparency essay.” If the received view of such a relatively obscure figure as Guévrékian can be so substantially manipulated by the undiminished provocations of Rowe and Slutzky’s essay, this suggests the necessity for further exploring how their text has created other modernist myths, that remain concealed behind, what Levi-Strauss called, “a veil of belief.”

Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

A través del análisis comparativo de la producción de Pablo Picasso y de Keith Haring, se propone un diálogo entre ambos artistas centrado en cuestiones propias de la low culture y del low art. Pese a la separación cronológica entre ambos artistas, se revelan curiosas sintonías que relacionan el lenguaje visual de cada uno de ellos con manifestaciones del arte etnológico, así como los ecos estilizados de los ritmos afroamericanos en los bailes de moda de ambas épocas.

A presentation on Faulkner's novel, setting it in the context of aesthetic modernism (T.S. Eliot, James Joyce, Cubism) and highlighting the novel's attempt to re-found mythic or archetypal structures in the wake of the abyss and fragmentation of modernity.

In his latest book, Miguel Orozco has unearthed hundreds paintings of Jacques Villon, one of the 'forgotten' masters of the twentieth century. After completing two volumes on the graphic work of the cubist-impressionist painter, the author tackles here here the core of the artist's œuvre: his paintings. And he does so without intending to produce a catalogue raisonné, but simply a sizeable compilation of Villon's paintings with as many details about them as possible, thus filling a vacuum both in the editorial world and in the net. The compilation, which only aims to pay tribute to the Norman painter and push for more studies and divulgation of his works, comprises nearly two thirds of Villon's entire production of paintings. It is therefore big enough to allow an understanding of the themes dear to Villon, of his techniques and evolution, thus offering the reader a voyage through the art of the century. 
A large part of the paintings have been located at auction sales carried out in the last forty years. Other sources of paintings are world museums, particularly American ones. Orozco has also used information contained in exhibition catalogues or other publications.

Araştırmada öncelikli olarak modern-postmodern ikileminde kübist biçimlendirme anlayışının temel karakteri, gerçeklik algısının yeniden yaratımı, söz konusu yaratım sürecinin farklı dönemler ve sanat anlayışları kapsamında anlam değişimleri incelenmektedir. Çalışmanın devamında zaman-mekana ilişkin yeni yönelimler çağdaş sanat kapsamında araştırmaya dahil edilerek zaman olgusunun bilimsel, matematiksel, psikolojik boyutları analiz edilmektedir. 20. yüzyılın bilimsel gerçekliği olan Einstein'ın göreli evren anlayışında zaman olgusu kendinden önceki bilimsel düşüncenin aksine nesnel bir gerçeklik olarak değil, belirli koşullar altında genişleyen, büzülen ve hareket halinde bir değişim olarak vardır. Sanatın biçimsel kolu olarak tanımlanabilen kübizm, fütürizm ve diğer sanat eğilimleri bu gerçekliği ve değişen zaman algısını devinimin farklı boyutlarda temsili olarak ele alıp sanatın konusu haline getirirler. Resimsel anlatının konu aldığı zaman da bu anlamda, geçmiş-gelecek ve şimdinin bir araya geldiği, bilinç halinde yer değiştirdiği, tek bir görüntüsel an' da farklı açılardan konumlandırıldığı zamandır. Bir araya getirilmiş bu tek bir noktadan, farklı zamansal anlardan, üst üste yerleştirilmiş hızlandırılmış görüntülerden bilişsel ve öznel olarak zamanın farklı açılımlarına gidilebilmektedir. Postmodern sanatta görülen kübist açılımların temsil ettiği gerçeklik budur. Bu doğrultuda araştırmada Einsteincı zaman-mekan anlayışı ve göreli evren düşüncesi ile kübizmin çözümsel kolu arasında kurulan ilişki yoluyla postmodern düşüncenin modernist yönüne disiplinlerarası bir yaklaşım sunulmaktadır.

The gardens that Gabriel Guévrékian designed during the 1920s in France have long been considered peripheral to the history of landscape architecture. The reasons for this marginalization are clear: they were too decorative for such major polemicists as Sigfried Giedion and too bourgeois for the Congres International d’Architecture Moderne (CIAM). Even their designer rejected these gardens, suggesting that one neither take them too seriously, nor measure his worth by these works alone. No sooner had Guévrékian completed them he began the process of distancing himself from the entire project of the modern garden. Yet in recent reappraisals of both Guévrékian and the early “modernist” garden in France, his works have become de facto icons of the garden art of this period. Many of these recent assessments can be traced to a single article on Guévrékian that Richard Wesley published in 1980. This was the first scholarly treatment of Guévrékian’s gardens, and it did much to stimulate interest in his work. Using a conceptual apparatus developed by Colin Rowe and Robert Slutzky in their seminal essay “Transparency: Literal and Phenomenal,” Wesley asserts that Guévrékian was attempting to copy the effects of cubist painting in his gardens. Yet, the gardens of Guévrékian, along with those of his contemporaries Paul and André Vera, Jean-Charles Moreux, and Le Corbusier, exhibit numerous influences such as surrealism, purism, and, in the case of Guévrékian, simultanéisme and Persian Paradise Gardens. Through reconsidering these gardens as complex cultural artifacts we can better understand the gardens Guévrékian designed during this period, the rich panoply of ideas upon which they were based, and why he felt the need to escape from them.

In Pursuit of Universalism is the first comprehensive, English-language study of early twentieth-century Japanese modern art. In this groundbreaking work, which is also the inaugural recipient of the Phillips Book Prize (awarded by the Phillips Collection Center for the Study of Modern Art), Alicia Volk constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugorô, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art. Volk places Yorozu at the forefront of a movement that sought to define Japanese art's role in the world by interrogating and ultimately refusing the opposition between East and West. Instead, she vividly demonstrates how Yorozu reframed modern art's dualistic underpinnings and transposed them into an inclusive and synthetic relation between the local and the universal. By looking closely at questions of cultural exchange within modern art, In Pursuit of Universalism offers a new and vital account of both Japanese and Euroamerican modernism. Volk's pioneering study builds bridges between the fields of modern and Asian art and takes its place at the forefront of the emerging global history of modern art.

Reviews:
“Masterfully written. . . . Alicia Volk embarks upon a fascinating journey to develop an alternative perspective for narrating the complexities of the Japanese art scene. . . . Volk’s stimulating book definitively illuminates a new horizon for the field of modern Asian art. . . . It is precisely what the discipline needs.”— Journal Of Oriental Studies

“Forceful and eloquent. . . . Volk masterfully unravels the knotty strands that coalesced to shape one individual artist’s perception of self and his work within existing academic, institutional, and professional structures. . . . [The] book deserves praise for being a substantially rigorous and provocative probe into the search for universalism in a differentiated world.”—International Journal Of Asian Studies

“Deserves to be read by all historians of modern art and East Asian culture.”—Journal Of Asian Studies

“An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research.”— Japanese Studies

“Excellent. . . . Exquisitely written.”—The Art Bulletin

"Written beautifully and compellingly... Volk has made an important contribution to the growing literature on alternative artistic modernisms." --The Journal of Japanese Studies

"In presenting readers with this most cogent argument for the emergence of Japanese modernism through the artistic engagement of one of its central players Volk has made a genuinely original contribution to the field."--New Zealand Journal of Asian Studies

"This is an... intellectually nourishing read, in which Volk's voluminous knowledge of art movements and discourse creates a text of commanding erudition."--The Japan Times

“Volk's impressive study rethinks the East-West binary often reiterated in discussions of Japanese modernism by reinserting local aspects into the universalizing tendencies of modernism itself. The book makes an important contribution to the growing literature on modern Japanese art history by providing an alternative comparative framework for understanding the global development of modernism that decenters Euro-America. Rigorously historical in her critique, Volk destabilizes our understanding of the Japanese experience of modernity through the prism of Yorozu's singular vision of the self, leaving us questioning conventional wisdom and contented to wobble.”—Gennifer Weisenfeld, Duke University

“In Volk's affectingly stunning and deeply reflective study of the Japanese artist Yorozu Tetsugorō's work between 1910-1930, we have a profoundly historical reminder of how modernism everywhere struggled to meet the demands of the new with the readymades of received artistic practices. In this study of Yorozu's utopian universalist project, Volk has imaginatively broadened our understanding of the modernist moment and perceptively captured its global program to unify art and life, contemporary culture and history.”—Harry Harootunian, author of Overcome by Modernity: History, Culture and Community in Interwar Japan

ÖZ Bu makalede, çağdaş sanatın en önemli iki sanat hareketi olan İzlenimcilik ile Kübizm akımlarının " zaman " kavramı ile bağıntıları ele alınacak ve bu konuda her iki akımın farklılıkları incelenecektir. Bu amaçla birinci bölümde İzlenimcik akımında " zaman " ın aktif rolü, eserlere yansıma biçimleri Aristoteles'in " zaman " konusundaki felsefi yaklaşımları eşliğinde incelenecektir. İkinci bölümde ise Kübizm'deki sanatsal üretim biçimlerinin " zaman " ile ilişkileri ele alınacak, buradan elde edilecek sonuçlar Augustinus'un " zaman " konusundaki görüşleri eşliğinde değerlendirilecektir. Bu çalışma süresince İzlenimcilik ve Kübizm'de " zaman " kavramının algılanma biçimleri, sanatçıların çalışmalarına yansıma şekilleri incelenecek ve her iki akımın bu konudaki temel farklılıkları açıklanmaya çalışılacaktır.

Lecture slides for a course on "Time and Narrative in Prose Fiction" (2020) -- covering the intellectual and aesthetic context of Virginia Woolf's novel: Mrs Dalloway.  The radical historicism and relativism of the "Third Wave of Modernity" are related to Modernist aesthetic movements such as Cubism, Imagism and narrative innovations such as "stream of consciousness". Finally, Woolf's unique articulation of the lived experience of temporality (in contradistinction from the "objective time" of the clock) is discussed.

A partir de la obra de Donald Mitchell, El
lenguaje de la música moderna [Ed. Lumen.
Barcelona. 1972] he analizado algunos
aspectos musicales innovadores en las
composiciones de Arnold Schoenberg e Igor
Stravinski y las relaciones existentes con el
con el cubismo y el expresionismo pictóricos.

Pour qui entreprend une histoire transnationale des avant-gardes picturales au XXe siècle, la période que couvre ce deuxième tome, de 1918 à 1945, est la plus périlleuse. Car l'auteur doit se colleter avec le grand récit dicté par les avant-gardes elles-mêmes. Tout commence-t-il avec Dada? Dès 1910 s'observait la remise en cause symbolique de Paris par les nouvelles générations dans de nouveaux centres : Berlin, Munich, Londres, Bruxelles, Cologne, Moscou, New York. Dada, certes né dans les charniers de la guerre, fut plus encore issu de l'histoire de la modernité artistique et littéraire depuis les années 1850. Les avant-gardes furent-elles idéologiquement progressistes? Les acteurs ne cessèrent de négocier entre les logiques révolutionnaires, leurs ambitions nationales et celle de continuer tant bien que mal à se faire connaître sur la scène internationale. Loin que Paris fût la capitale unique, d'une ville à l'autre, et en particulier à Berlin, Prague, Budapest, Vienne, Moscou, mais aussi à Amsterdam, Bucarest, Zagreb, Barcelone et jusqu'à São Paulo, Mexico et au Japon, apparurent régulièrement de nouveaux groupes décidés à se faire une place dans le courant du modernisme. En revanche, l'entre-deux-guerres fut une période de marchandisation aboutie de l'innovation artistique. Dans les pratiques et les débats des avant-gardes, une problématique était récurrente : quelle place faire au marché, surtout en cas de succès?

The conceptualised period of 'Modernism' and its impression within the Art-world, is understood to be typified by the rejection of tradition (English and Quin 2009). This concept of 'stepping outside' of traditional style, pre-established artistic movements, and previous techniques – consequently contributed to the development of this period, as acknowledged by artists, historians, and scholars alike. 'Modernism', as considered in contemporary-discussion, owes in great part to its artistic-predecessors and 'traditional masters'. This essay will provide and in-depth analysis of six European artistic-works created between 1860 and 1935; the period in which Modernism, and various movements and sub-movements (that will be discussed), originated.

Interview with Michael C. FitzGerald, author of one of the most relevant books on the creation of the art market for twentieth-century art by Picasso and Matisse:

“The transformation from the established model of the Academy to an increasingly free-market system was slow and piecemeal.” M. C. FitzGerald

Published in 1996, 'Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art' is still one of the basic books for understanding the making of the art market. Written by Picasso scholar Michael C. FitzGerald, it provides a wonderfully articulated perspective on the difficulties and complexities Picasso and Matisse had to face as the avant-garde art market took shape. I spoke to FitzGerald, who is professor of fine arts and director of art history at Trinity College, about the motivations behind writing this iconic book that reveals the hardship and complexities of the making of the market for modern art.

El objetivo de este texto es la revisión de la relación entre Cubismo y arquitectura a través de la noción de fenomenización del espacio. Para esta revisión, se toman en cuenta dos análisis críticos en los que se comparte la idea de que esta relación trasciende la dimensión de la
influencia formal y figurativa y que se trata –ante todo– del problema de una nueva concepción, experiencia y solución del espacio, sea este último el pictórico o el arquitectónico. El primero de estos análisis, es el de Beatriz Colomina que revela el ‘principio de contradicción’ generador de las diferentes relaciones entre Cubismo y arquitectura moderna y desarrolla –sin acudir a este término– el proceso de fenomenización del espacio en la arquitectura de Le Corbusier correspondiente a la década del veinte del siglo XX. Y el segundo, es la de Giulio Carlo Argan en el que se considera definitivo este proceso de fenomenización del espacio
como el ‘bajo continuo’ de las investigaciones artísticas y arquitectónicas de vanguardia. En el último aparte y a manera de ejemplo, se presenta el caso de la fenomenización del espacio arquitectónico en la Villa Savoye (1929, Poissy, Francia) de Le Corbusier.