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.

No description available.

O Cabanon é uma obra do arquiteto Le Corbusier localizada em Cap Martin na região conhecida como Côte d´Azur, no sul da França. Esboçada pela primeira vez no final de 1951, teve sua execução finalizada em agosto de 1952. A cabana é um episódio distinto dentro da arquitetura de Le Corbusier. O Cabanon foi a síntese da obra do arquiteto; nesta obra Le Corbusier pôde retornar ao primitivismo, algo tão admirado por ele, através de uma cabana com uma aparência um tanto quanto primitiva – a rusticidade exterior presenta na textura da madeira – e dos seus hábitos um tanto peculiares – gostava de pintar seus murais, nu. Na cabana, colocou em prática o seu estudo sobre as medidas, utilizando o Modulor como ferramenta de projeto; além disso usou das formas da natureza para gerar a planta: o movimento helicoidal da concha e a sua espiral decomposta criaram a forma com que o mobiliário seria disposto e como a circulação ocorreria dentro do recinto. A habitação mínima, uma releitura das celas monásticas de Cartuxa d´Emma, foi um dos temas abordados também nessa pequena casa, assim como o desejo de criar uma célula reproduzível. Os temas abordados no Cabanon podem ser o resumo da história arquitetônica do mestre modernista, que encontrou em Cap Martin o local para exercitar a mente, o corpo, a alma e o espírito. / The Cabanon is a work of the architect Le Corbusier located in Cap Martin in the region known as Côte d'Azur, in the south of France. Sketched for the first time at the end of 1951, its execution was completed in August 1952. The hut is a distinct episode within the architecture of Le Corbusier. The Cabanon was the synthesis of the architect's work; in this work Le Corbusier was able to return to primitivism, something so admired by him, through a hut with a rather primitive appearance - the exterior rusticity presents in the texture of wood - and his somewhat peculiar habits - liked to paint his murals, naked. In the hut, he put into practice his study on the measurements, using Modulor as a design tool; besides that he used the forms of nature to generate the plan: the helical movement of the shell and its decomposed spiral created the way the furniture would be arranged and how the circulation would take place inside the enclosure. The minimal habitation, a re-reading of the monastic cells of Cartuxa d'Emma, was one of the topics addressed in this small house, as well as the desire to create a reproducible cell. The topics covered in the Cabanon may be the summary of the architectural history of the modernist master, who found in Cap Martin the place to exercise mind, body, soul and spirit.