Le Corbusier's project for the French parish church of Saint-Pierre at Firminy-Vert is an architectural work which embodies the modern concern for individual accessibility. The following thesis examines Saint-Pierre in this light, showing how it was created as a reaction against the imposing and manipulative natures of both a reductive perspective manifestation of art, and a dogmatic form of ritual. These themes, being particular to modern art, may be seen as a desire for a more accessible and individual participation. The reading of Saint-Pierre proceeds on three levels, addressing divergent aspects of the work's nature, ranging from its formal character, to its symbolism split between the natural and cultural realms. Each level contributes to the image of an open place of worship, that is, an accessible architectural setting intended to frame an individual and inward form of worship. This reading also reveals the inherent conflict involved in attempting to reconcile a monumental disposition--evident at Saint-Pierre and understood as forming part of the poetic integrity of the work--with the accessibility that tends to compromise such integrity. This points to the problematic nature of monumental architecture in modern society.

As from the beginning of the 20th century, there has been a shift in the scale of architectural production as an outcome of advanced construction technologies, new range of building materials, automation of building services and progressive infrastructural networks. The increased physical capacity -the deeper and taller buildings- not only increased the scale of the architectural practice in relation with urban planning, but also presented architecture the possibility to offer a wider social programmation for the reorganization of the urban territory. The increase in the scale of architectural production, this study would argue, has given rise to a critical tension between the fields of architecture and urbanism. The aim of this study is to understand alternative positions towards the relationship between architecture and urbanism in the production of the city through a cross-reading of the architectural-urban theories of Le Corbusier and Rem Koolhaas. At a very preliminary investigation, the urban thinking of Le Corbusier represents the modernist ideal in architecture that is after the rational and linear architectural production of the city with all its social, cultural and economic components. The theory generated by Rem Koolhaas, on the other hand, represents the end of the modernist ideal on the city, since it refuses the possibility of imposing a rigid, definitive and stable program on the city through the mediation of architecture. What separates these two positions is the turning point in the social and cultural structure that was experienced in 1960&rsquo / s, but what makes possible a continuous reading is the both architect&rsquo / s attempt to radicalize the scale of the architectural production, with diverse approaches towards its programmation. The study is an attempt to make this comparative analysis in order to understand what has changed from one to another in terms of their understanding of form, scale, program and context in architectural production, as well as their position towards social programmation of the urban organization.

This study aims to discuss the generative possibilities of reading architectural form by focusing on selected interpretations of the Venice Hospital project by Le Corbusier. By presenting complementary and competing readings of the project, it examines different design strategies in the formal organization of the Venice Hospital. It shows that the Venice Hospital project, displaying the characteristics of both a &ldquo / field&rdquo / organization and a well-articulated object, demands a reconsideration of the occasionally overstated distinction between them. First, it introduces interpretations of the Venice Hospital as a field and/or mat-building phenomenon, which emphasize its relevance as a precedent for contemporary formal explorations. The complexity of the Venice Hospital project requires appealing to other reading strategies as well. Based on the discussion initiated by Colin Rowe and Fred Koetter in &ldquo / The Crisis of the Object: The Predicament of Texture,&rdquo / and owing to Alan Colquhoun&rsquo / s analysis of the project&rsquo / s geometrical system in &ldquo / Formal and Functional Interactions,&rdquo / this study proceeds by exploring the way the Venice Hospital becomes &ldquo / an object performing like a texture.&rdquo / It attempts to decipher Colquhoun&rsquo / s remarks and his diagrams concerning the geometrical system through the technique of the &ldquo / plan analysis&rdquo / introduced by Klaus-Peter Gast. The Venice Hospital project is also studied as an example of transparent spatial organization, in light of the conceptual framework developed by Colin Rowe and Robert Slutzky in their &ldquo / Transparency&rdquo / articles. Starting from these interpretations of the Venice Hospital project, this study aims at bringing into discussion the nature of the devices or techniques of formal organization that can mediate between architecture and urbanism. These devices are examined in light of the framework constituted by the concepts of &ldquo / device&rdquo / and &ldquo / material,&rdquo / elucidated by the Russian Formalists. The &ldquo / device and material relationship&rdquo / that was invoked in the formalist tradition of literary criticism, is reformulated for the field of architecture, and it is discussed with its capacity to initiate generative and inclusive interpretations of works of architecture as precedents.

Thesis (Ph.D.)--University of Adelaide, School of Architecture, Lanscape Architecture and Urban Design, 2003. / Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251).

Thesis (M. Arch.)--Carleton University, 1999. / Also available in electronic format on the Internet.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 145-156). Also available in electronic format on the Internet.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2008. / Submitted by Kathryn Cardim Araujo (kathryn.cardim@gmail.com) on 2009-09-22T12:50:19Z No. of bitstreams: 1 2008_CarolinaDaRochaLimaBorges.pdf: 2345666 bytes, checksum: 4b97e59f3c656297d5c344c469ccc7a2 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2010-06-29T12:53:21Z (GMT) No. of bitstreams: 1 2008_CarolinaDaRochaLimaBorges.pdf: 2345666 bytes, checksum: 4b97e59f3c656297d5c344c469ccc7a2 (MD5) / Made available in DSpace on 2010-06-29T12:53:21Z (GMT). No. of bitstreams: 1 2008_CarolinaDaRochaLimaBorges.pdf: 2345666 bytes, checksum: 4b97e59f3c656297d5c344c469ccc7a2 (MD5) Previous issue date: 2008 / O presente trabalho aborda os projetos para o Ministério da Educação e Saúde no Rio de Janeiro com o objetivo de dedicar-lhes uma análise estética objetivamente fundamentada. Os projetos a serem estudados são o de Le Corbusier (o segundo, para o terreno sugerido por ele) e o projeto executado, concebido pela equipe de Lucio Costa, composta por Carlos Leão, Affonso Reidy, Jorge Moreira, Ernani Vasconcelos e Oscar Niemeyer. Propomos verificar, a partir da análise comparativa das disposições plásticas adotadas em cada projeto, conteúdos que expressam um ideário de seus autores e que evidenciam um caráter de permanência e universalidade. ____________________________________________________________________________________________________________________________ ABSTRACT / The present research discusses the projects for the Ministry of Education and Health in Rio de Janeiro in order to develop an aesthetics objectively justified analysis. The projects studied are from Le Corbusier (the second one for that particular space suggested by him) and the project executed and designed by the team of Lucio Costa, made by Carlos Leon, Affonso Reidy, Jorge Moreira, Ernani Vasconcelos and Oscar Niemeyer. We propose to verify, from a comparative analysis of the provisions used in each plastic design, contents that express an ideology of their authors and show a character of permanence and universality.

A cidade que nasce junto à água possui forte relação com ela. A sua evolução tem nesse elemento um limite já configurado. Sua forma irá determinar a morfologia dessa cidade. Esse trabalho propõe estudar, em diferentes escalas, a relação entre arquitetura e a água, desde seu uso como elemento de composição arquitetônica até seu papel na cidade. Para esse estudo serão analisados os projetos de Le Corbusier e sua influência sobre a arquitetura moderna brasileira, principalmente as suas propostas para frentes aquáticas adotadas em sua viagem para o continente americano, onde ele elabora estudos que são considerados importantes porque marcam a transição entre seus modelos de cidade ideal. Três deles, Montevidéu, Rio de Janeiro e Buenos Aires, se encontram junto ao mar. A proposta mais ousada foi elaborada para o Rio de Janeiro, onde impressionado com a paisagem carioca e sua cidade linear natural, ele propõe um edifício autoestrada que percorria a cidade esquivando os morros como um rio. Com intenção de substituir as favelas e garantir vista para o mar, resolveria assim o problema habitacional e de mobilidade em uma solução. E vai inspirar seus futuros projetos e mais tarde a arquitetura moderna brasileira, materializada através de exemplos como o edifício ‘Pedregulho’ de Reidy, no Rio ou o Copan de Niemeyer, em São Paulo, ambos baseados no edifício linear de expansão infinita. / The city that was born by the water has a strong relationship with it. Its evolution has in this element an already configured limit. Its shape will determine the morphology´ effect of this city. This work proposes to study, at different scales, the relationship between architecture and water from its use as architectural composition element to their role in the city. For this study will be analyzed the projects of Le Corbusier and his influence on modern Brazilian architecture, especially its proposals for water fronts adopted on his journey to the Americas, where he elaborates studies that are considered important because they mark the transition between their models of ideal city. Three of them, Montevideo, Rio de Janeiro and Buenos Aires, are by the sea. The boldest proposal was prepared for the Rio de Janeiro where impressed with Rio's landscape and its natural linear city, he proposes a building highway that ran through the city dodging the hills like a river. Intended to replace the slums and secure a sea view, would solve the housing and mobility problem into a solution. And will inspire your future projects and later the Brazilian modern architecture, embodied by example as the building 'Pedregulho' by Reidy in Rio or ‘Copan’ by Niemeyer in São Paulo, both based on linear building of infinite expansion.

Em 1951, o arquiteto Le Corbusier foi convidado por seu amigo, o industrialista André Jaoul para projetar duas casas uma para ele e sua esposa e outra para a família de seu filho, no subúrbio de Paris. Devido ao orçamento reduzido, Le Corbusier adotou o uso de paredes portantes de tijolos, coberturas em abóbadas catalãs e vigas de concreto aparente. Estas escolhas definiram a estética brutalista do projeto e fizeram com que as Maisons Jaoul se tornassem conhecidas mundialmente. As Maisons Jaoul de certa forma parecem destoantes ao trabalho do arquiteto que ficou muito conhecido por ser austero, frio e racionalista, principalmente por suas obras nos anos 20. No entanto, um panorama na história da arquitetura corbusiana faz com que se tenha um entendimento desta solução brutalista. É possível perceber a evolução da arquitetura moderna de Le Corbusier desde o início de sua carreira, passando por diferentes fases onde o arquiteto acaba por ter um aumento de seu repertório e consequentemente uma evolução em sua arquitetura, que vai de encontro as mudanças sociais e econômicas da sociedade. As Maisons Jaoul assumiram um papel importante na carreira do arquiteto e serviram de exemplo e inspiração para diversos projetos ao redor do mundo. / In 1951 the architect Le Corbusier was invited by his friend, the industrialist André Jaoul to design two houses, one for him and his wife and another for the family of his son, in the a Paris suburb. Due to the reduced budget, Le Corbusier adopted the use of brick walls and roofs in Catalan vaults and exposed concrete. These choices defined the brutalist aesthetics of the project and made the Maisons Jaoul worldwide known. The Maisons Jaoul seem however disoriented to the work of the architect who was well known for being austere, cold and rationalist, mainly for his works in the 1920s. However, a panorama in the history of Corbusian architecture cause an understanding of this brutalist solution. It is possible to perceive the evolution of modern architecture of Le Corbusier from the beginning of his career, passing through different phases where the architect ends up having an increase of its repertoire and consequently an evolution that goes into the social and economic changes of society. Maisons Jaoul took an important role in the architect's career and served as an example and inspiration for several projects all around the world.

A cidade que nasce junto à água possui forte relação com ela. A sua evolução tem nesse elemento um limite já configurado. Sua forma irá determinar a morfologia dessa cidade. Esse trabalho propõe estudar, em diferentes escalas, a relação entre arquitetura e a água, desde seu uso como elemento de composição arquitetônica até seu papel na cidade. Para esse estudo serão analisados os projetos de Le Corbusier e sua influência sobre a arquitetura moderna brasileira, principalmente as suas propostas para frentes aquáticas adotadas em sua viagem para o continente americano, onde ele elabora estudos que são considerados importantes porque marcam a transição entre seus modelos de cidade ideal. Três deles, Montevidéu, Rio de Janeiro e Buenos Aires, se encontram junto ao mar. A proposta mais ousada foi elaborada para o Rio de Janeiro, onde impressionado com a paisagem carioca e sua cidade linear natural, ele propõe um edifício autoestrada que percorria a cidade esquivando os morros como um rio. Com intenção de substituir as favelas e garantir vista para o mar, resolveria assim o problema habitacional e de mobilidade em uma solução. E vai inspirar seus futuros projetos e mais tarde a arquitetura moderna brasileira, materializada através de exemplos como o edifício ‘Pedregulho’ de Reidy, no Rio ou o Copan de Niemeyer, em São Paulo, ambos baseados no edifício linear de expansão infinita. / The city that was born by the water has a strong relationship with it. Its evolution has in this element an already configured limit. Its shape will determine the morphology´ effect of this city. This work proposes to study, at different scales, the relationship between architecture and water from its use as architectural composition element to their role in the city. For this study will be analyzed the projects of Le Corbusier and his influence on modern Brazilian architecture, especially its proposals for water fronts adopted on his journey to the Americas, where he elaborates studies that are considered important because they mark the transition between their models of ideal city. Three of them, Montevideo, Rio de Janeiro and Buenos Aires, are by the sea. The boldest proposal was prepared for the Rio de Janeiro where impressed with Rio's landscape and its natural linear city, he proposes a building highway that ran through the city dodging the hills like a river. Intended to replace the slums and secure a sea view, would solve the housing and mobility problem into a solution. And will inspire your future projects and later the Brazilian modern architecture, embodied by example as the building 'Pedregulho' by Reidy in Rio or ‘Copan’ by Niemeyer in São Paulo, both based on linear building of infinite expansion.