Thèse sciences EPF Lausanne, 1992, no 1077. / Résumés en français (pp. 3-5) et anglais (pp. 7-9). Bibliogr.

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis--Harvard, 1971. / Includes bibliographical references (p. [257]-259).

Thesis--Harvard, 1971. / Includes bibliographical references (p. [257]-259).

This thesis attempts to define Le Corbusier’s understanding of the natural world. While this theme has frequently been discussed in the secondary literature, it has not yet been comprehensively addressed. Each chapter of the thesis approaches the topic from a different thematic angle, in an attempt to bring together the different aspects of Le Corbusier’s conception of nature. The first deals with his sense of nature as both ordered and Order: a way of thinking which owes more to pre-modern than modern culture. The second, in tackling the connection which Le Corbusier made between nature and the well-being of urban dwellers, considers a more instrumental aspect of his thinking. The third shows that he saw the experience of nature primarily as belonging to the private domain, and investigates the consequences of this for his cities. The fourth links the idea of the architectural promenade with the natural world and shows that nature was figured as both static image and dynamic experience by Le Corbusier. The fifth takes as its starting point his conviction that ‘primitive’ peoples lived in closer contact with nature than those of the industrialised world, but argues that he was not therefore guilty of the reductive, idealising approach to non-western culture usually associated with primitivism. Le Corbusier’s attitude to vernacular architecture, the dwellings of “natural” men, is explored in the sixth chapter, where the connection between the vernacular and the idea of the standard is considered. Throughout the intention is to position Le Corbusier as caught between an ancient sense of nature as cosmic order, full of symbolic potential, and a modern approach which sees nature as nothing more than an expanse of greenery or a view of trees.

Th. 3e cycle--Urban.--Paris 8, 1987.

Most arguments about high-rise housing are waged in the shadow of Le Corbusier. The pervasive effects of his dogged half-century spent advocating the benefits of high-rise dwelling are still everywhere apparant. His watchwords - "soleiI, espace, verdure”, "le grand gaspi Iage du temps moderne", "les services communs", "Ies prolongements du Iogis" - are stiII in one form or another the uItimate weapons of the apologists and detractors of high-rise, and the Unites, in particular, have become the touchstone for much of the slab-building around. In view of alI this, one would expect that there exists a solid corpus of critical works explicating Le Corbusier's precise position whose meaning, as a result, would unambiguously and by common consent be implied whenever the Corbusian Freudian-father is invoked. There are not however, any such rigorous citical studies of Le Corbusier's housing proposals and among the general works that do exist, Iittle consensus and indeed some contradiction exists on the definition of the Corbusian solution; that is, on the question of the Unites proper context - the planning matrix within which it fits. The Unite itself, its genesis and its ultimate canonization, has been the subject of even less objective investigation. This study set out to fiII that gap; in the course of my research it was found that Le Corbusier's supposedly-consistent proposals concealed during their long evolution many shifts, disjunctions and non sequiturs. This uneven and disconnected dialogue between the former and latter parts of Le Corbusier's 'oeuvre' that is described in this study reveals the Unite finally as being not at alI firmly embedded in or clearly resulting from his overalI design contexts and housing proposals. It stands, finally, as a separable declaration of Le Corbusier's particular understanding of the psycho/visual nature of human perception, and this is judged to be an inadequate and over - exclusive raison d'etre.

I uppsatsen undersöks Le Corbusiers L'Esprit Nouveaupaviljong på Parisutställningen 1925, som en utställningspaviljong bland många andra. En historisk utblick bidrar till att bättre förstå det franska samhället under 1920-talet och därmed också till att sätta in både Parisutställningen och L'Esprit Nouveaupaviljongen i en större kontext. Parisutställningen kan räknas till samma tradition som de stora världsutställningarna som hölls runt om i världen från mitten på 1800-talet varför också de franska världsutställningarna och utställningsarkitektur i allmänhet studeras. Vidare beskrivs utställningsområdet liksom arkitekturen, både den på utställningen dominerande stilen och den mindre representerade modernismen samt hur utställningsarkitekturen, framförallt den moderna, diskuterades i pressen under samtiden. L'Esprit Nouveaupaviljongen beskrivs detaljerat, liksom dess placering på utställningsområdet, samt hur den stilmässigt förhöll sig till den övriga utställningsarkitekturen. Le Corbusiers texter, i första hand hämtade från hans bok Vers une architecture, bidrar till att förstå vilka teoretiska ställningstaganden som ligger bakom byggnaden. L'Esprit Nouveaupaviljongens mottagande i både den franska och den svenska specialiserade pressen undersöks och jämförs.

Este trabalho enfoca o processo de intercâmbio ocorrido entre Le Corbusier e os arquitetos modernistas brasileiros agrupados em torno de Lúcio Costa, enquanto significativo exemplo de troca cultural no marco da modernidade . A análise centra-se nos projetos urbanísticos como modalidades do imaginário moderno, carreando, em suas imagens e idéias, significados muito além dos propósitos específicos e pragmáticos que os justificam. Os projetos excepcionais e exemplares com referência no urbano são tomados como verdadeiras elaborações de sonhos, desejos de p.rogresso e coesão social, voltados a induzir e representar um futuro imaginário coletivo. Reconhece-se nestes projetos traços da utopia como discurso que coloca no espaço alternativas de um devir social, considerando-se as transformações do discurso utópico a partir do iluminismo, no sentido de busca ativa de realização de estados sociais desejáveis . As três viagens deLe Corbusier ao Brasil, em 1929, 1936 e 1962, e as intensas relações desse com a paisagem local e os brasileiros, são analisadas em suas diversas facetas, como um primeiro movimento na trajetória de uma troca cultural que redundaria posteriormente na emergência inesperada de uma versão peculiar da arquitetura e urbanismo modernistas com grande repercussão internacional, emanando de um lugar até então marginalizado do processo de criação cultural . São enfocadas as mudanças que o contato com o Brasil e os brasileiros teriam estimulado ou reforçado na obra corbusiana e, no sentido inverso, a sua influência decisiva na formação de uma arquitetura e urbanismo modernistas de fõlego no país. A relação dos modernistas brasileiros com o arquiteto franco-suíço é vista como inserida em um esforço das vanguardas nacionais a partir dos anos vinte, tendo o duplo objetivo de realizar ou representar um processo de criação cultural autóctone e sancionado conforme os padrões modernistas internacionais. Os paradoxos e tensões advenientes de tal bipolaridade são enfatizados no trabalho, considerados típicos de uma modernidade como acelerada transformação . O Brasil do periodo, antes de constituir-se lugar "externo" à cultura moderna, representa espaço da suprema manifestação de uma transformação avassaladora, onde tudo sempre se projeta para o futuro. O intercâmbio enfocado é visto como de mútua influência, e não como relação unilateral entre mestres e discípulos, interação criativa que não elimina a autonomia de ambas as partes. / This work focuses on a process of exchange that involved Le Corbusier and brazilian architects Iead by Lucio Costa. It is considered as an example of cultural relationship in the context ofmodemity. The analysis is centered on urban projects which are viewed as imaginary expressions, encompassing, by the ideas and images they convey, meanings far beyond their alleged specific purposes. These exeptional urban projects are thus exarnined and viewed as expressions of collective dreamings of a society eager for progress and development, seeking cohesion based on certain ideas and images of its own future.We recognise in these urban and architectural "heroic" designs, a defined utopian character. We consider "utopia" as a discourse anda set ofimages that creates new space pattems as representations of desired future states of a society. This is related to new forros of utopian thought, that have evolved since the eigtheenth century, in the sense of active and forcefull realization. The three joumeys of Le Corbusier to Brazil, in 1929, 1936 and finally in 1962, and the intense interaction the architect established with the .brazilian landscape and people, is analised from different and multiple angles. These visits are considered as a beginning of a process that eventually led to an "improbable" and unexpected emergence of the Brazilian modernist urban design and architecture. The present work approaches the changes in latter Corbusian work and life provoked or reinforced by his brazilian experience. At the same time it focuses on the influence ofLe Corbusier in the emergence of Brazilian modemist architecture and urbanism. This peculiar version of what is a largely recognized as an "intemational" cultural forro has had exeptional repercussions throughout the world. This fact, deserves further analysis and explanation considering that Brazil has always been marginalized from the mainstream production of cultural standards. The relationship between the French architect and the Brazilian modernists is viewed as an episode of a long struggle led by brazilian avant garde, in na effort to create and induce the forroation of a culture at the same time expressing authentic Brazilian values, as well as of perfect insertion into intemational modem standards. These paradoxical intents and goals have generated tensions considered typical of "modernity" as an ever moving cultural and existential condition. In this sense, the Brazil of the period studied emerges, not as a marginal and provincial place, removed from the modem world, but an environment where modernity achieves its maximum pace, projecting itself constantly into the future.

Este trabalho enfoca o processo de intercâmbio ocorrido entre Le Corbusier e os arquitetos modernistas brasileiros agrupados em torno de Lúcio Costa, enquanto significativo exemplo de troca cultural no marco da modernidade . A análise centra-se nos projetos urbanísticos como modalidades do imaginário moderno, carreando, em suas imagens e idéias, significados muito além dos propósitos específicos e pragmáticos que os justificam. Os projetos excepcionais e exemplares com referência no urbano são tomados como verdadeiras elaborações de sonhos, desejos de p.rogresso e coesão social, voltados a induzir e representar um futuro imaginário coletivo. Reconhece-se nestes projetos traços da utopia como discurso que coloca no espaço alternativas de um devir social, considerando-se as transformações do discurso utópico a partir do iluminismo, no sentido de busca ativa de realização de estados sociais desejáveis . As três viagens deLe Corbusier ao Brasil, em 1929, 1936 e 1962, e as intensas relações desse com a paisagem local e os brasileiros, são analisadas em suas diversas facetas, como um primeiro movimento na trajetória de uma troca cultural que redundaria posteriormente na emergência inesperada de uma versão peculiar da arquitetura e urbanismo modernistas com grande repercussão internacional, emanando de um lugar até então marginalizado do processo de criação cultural . São enfocadas as mudanças que o contato com o Brasil e os brasileiros teriam estimulado ou reforçado na obra corbusiana e, no sentido inverso, a sua influência decisiva na formação de uma arquitetura e urbanismo modernistas de fõlego no país. A relação dos modernistas brasileiros com o arquiteto franco-suíço é vista como inserida em um esforço das vanguardas nacionais a partir dos anos vinte, tendo o duplo objetivo de realizar ou representar um processo de criação cultural autóctone e sancionado conforme os padrões modernistas internacionais. Os paradoxos e tensões advenientes de tal bipolaridade são enfatizados no trabalho, considerados típicos de uma modernidade como acelerada transformação . O Brasil do periodo, antes de constituir-se lugar "externo" à cultura moderna, representa espaço da suprema manifestação de uma transformação avassaladora, onde tudo sempre se projeta para o futuro. O intercâmbio enfocado é visto como de mútua influência, e não como relação unilateral entre mestres e discípulos, interação criativa que não elimina a autonomia de ambas as partes. / This work focuses on a process of exchange that involved Le Corbusier and brazilian architects Iead by Lucio Costa. It is considered as an example of cultural relationship in the context ofmodemity. The analysis is centered on urban projects which are viewed as imaginary expressions, encompassing, by the ideas and images they convey, meanings far beyond their alleged specific purposes. These exeptional urban projects are thus exarnined and viewed as expressions of collective dreamings of a society eager for progress and development, seeking cohesion based on certain ideas and images of its own future.We recognise in these urban and architectural "heroic" designs, a defined utopian character. We consider "utopia" as a discourse anda set ofimages that creates new space pattems as representations of desired future states of a society. This is related to new forros of utopian thought, that have evolved since the eigtheenth century, in the sense of active and forcefull realization. The three joumeys of Le Corbusier to Brazil, in 1929, 1936 and finally in 1962, and the intense interaction the architect established with the .brazilian landscape and people, is analised from different and multiple angles. These visits are considered as a beginning of a process that eventually led to an "improbable" and unexpected emergence of the Brazilian modernist urban design and architecture. The present work approaches the changes in latter Corbusian work and life provoked or reinforced by his brazilian experience. At the same time it focuses on the influence ofLe Corbusier in the emergence of Brazilian modemist architecture and urbanism. This peculiar version of what is a largely recognized as an "intemational" cultural forro has had exeptional repercussions throughout the world. This fact, deserves further analysis and explanation considering that Brazil has always been marginalized from the mainstream production of cultural standards. The relationship between the French architect and the Brazilian modernists is viewed as an episode of a long struggle led by brazilian avant garde, in na effort to create and induce the forroation of a culture at the same time expressing authentic Brazilian values, as well as of perfect insertion into intemational modem standards. These paradoxical intents and goals have generated tensions considered typical of "modernity" as an ever moving cultural and existential condition. In this sense, the Brazil of the period studied emerges, not as a marginal and provincial place, removed from the modem world, but an environment where modernity achieves its maximum pace, projecting itself constantly into the future.