A produção de Le Corbusier a partir da década de 1930 sofre grande mudança se for comparada ao período das \"casas brancas\". Na historiografia não há consenso na análise do referido período, ou mesmo aqueles que tecem as análises extensivas ao racionalismo corbusiano para este período tem certa dificuldade. Partindo desta constatação, este trabalho oferece alternativas de interpretação através da vínculação da produção arquitetônica e urbanística com a produção artística de Le Corbusier. / Le Corbusier\'s production since the thirties passes through great transformation when compared with the period of the \"white houses\". There is no agreement between historians in their analysis of the period and even those who try to analyse it through the optics of the corbusian rationalism have difficulties. This work offers alternative interpretations linking Le Corbusier\'s architectural and urban production with his artistic production.

Após iniciar sua trajetória como pintor junto às vanguardas parisienses do cubismo e do purismo, Le Corbusier cessa em 1923, aos olhos do público, tal atividade, mantendo-a regular e sistemática como um trabalho exclusivo seu. Afora algumas poucas exposições menores e discretas, Le Corbusier permanece cerca de 30 anos pintando sem expor até que, em 1948, inicia o redescobrimento do que veio a chamar de seu \"labor secreto\". Esse processo de retomada da pintura como a \"virtude profunda\" de sua arquitetura e de seu urbanismo converge, em 1953, para uma grande exposição em Paris, quebrando definitivamente o seu silêncio de três décadas. Nesse percurso, analisou-se não apenas as fases de sua pintura, como seu significado enquanto formalização discursiva do trabalho conceitual de Le Corbusier, valorizando-se a relação entre pintura e urbanismo, em especial, a partir de suas viagens para a América do Sul. / After beginning his trajectory as a painter in the Parisian cubist and purist avant-garde movements, Le Corbusier halts his painting activity to the eyes of the public, keeping it regularly and systematically just for himself. Aside from a few small and discreet exhibitions, Le Corbusier spends 30 years painting without exhibiting until 1948, when he begins the rediscovery of what was to be called his \"secret labor\". This process of recovery of his painting as a \"profound virtue\" of his architecture and urbanism culminates in a huge exhibition in Paris, in 1953, breaking once and for all his 30-year silence. In this piece, not only the phases of Le Corbusier\'s painting were analyzed, but also its meaning as a discursive formalization of his conceptual work.

Le Corbusier est un architecte qui non seulement construit, mais qui n’a de cesse de dire comment on doit construire. Faisant le pari de la force et de la cohérence de la pensée corbuséenne, le présent travail vise à interroger l’œuvre théorique de l’architecte au prisme de l’une des ses «colorations» les plus propres, à savoir sa dimension foncièrement normative. À partir d’un tel essai de reconstruction de la pensée corbuséenne par le biais du concept de norme, il s’agira de poursuivre un triple objectif : premièrement, chercher à comprendre pourquoi Le Corbusier rejette les normes sur lesquelles reposait l’architecture académique de son temps et pour quelles raisons il entend lui substituer une architecture authentiquement moderne ; deuxièmement, montrer en quoi et selon quelles modalités théoriques et pratiques l’œuvre de Le Corbusier constitue une tentative de refondation ou de recommencement de la discipline architecturale sur des bases normatives renouvelées ; enfin, tenter de saisir les rapports entre le domaine de la norme et ce qui l’excède, à savoir le champ du «hors-norme» (la beauté, le génie, l’espace indicible). / Le Corbusier is an architect who not only builds, but also never stops to tell us how to build. The present work aims at questioning the architect’s theoretical work through one of its most singular dimension, i.e. its fundamentally normative aspect. By trying to reconstruct the corbusean thought by the use of the concept of norm, I pursue a triple purpose : firstly, trying to understand why Le Corbusier rejects the normative basis underpinning the historicist architecture of its time and why he wants to substitute an authentic modern architecture for it ; secondly, trying to demonstrate how Le Corbusier’s theoretical and practical work constitutes an attempt at rebuilding the architectural discipline on brand new normative standards (the ‘échelle humaine’) ; finally, I try to grasp the relations between what is part of the normative realm and what necessarily exceeds this sphere according to the architect (beauty, genius, ineffable space).

No description available.

This essay is the basis for a thesis, according to which an urban transcendent planning tool belonging to the functional ideology of the Modern Movement may be acknowledged as being of prime importance. The theme is the Plan for Bogotá, elaborated in several phases by Le Corbusier and Josep Lluís Sert & Paul Lester Wiener between 1949 and 1963, This is a work which has been very sparsely mentioned in international historiography of architecture and/or urban planning, and has generated little or no critical interest or deep analysis as part of the Latin American regional case1, or particularly, that of Bogotá. This Plan, besides its projectual and instrumental novelties (for its time), is remarkable for its historical, methodological and practical dimensions and for its dialectic between the values and principles that guided it and its final product, the city itself. Through the study of the urban event, of the processes and the product created by this experience, the codes which reverberated through the Bogotá town planning will be eventually identified, then put to work to rescue questions and answers that may contribute ideas and solutions to contemporary town planning. Several significant events point out the historical importance of the Plan. It was not only the second and last time for le Corbusier and Sert ¿ two noted CIAM protagonists ¿ to work together in town planning, 16 years after participating in the Maciá Plan for Barcelona, but also the only Plan for a Latin American city completely worked out by Le Corbusier, having signed a formal contract for that purpose. Like Sert and other renowned architects, Le Corbusier strove to leave his own imprint in Latin America2. In the Colombian scope the Plan may be considered a significant event, being the work of two emblematic figures of the Modern Movement and also for its importance for Colombian society, involving it as a whole in a project that became part of its own future development by the creation of a pioneering instrument for an integral city project, and also for its instrumental content and the legal expression of a compendium of regulations in accordance with the principles and methodology of Modern Urbanism. However, this, like many other ideas and proposals towards modernization of cities, did not transcend their time nor were they registered in Colombian history as a notably significant chapter (del Castillo, 2003). In its methodological dimension, the Bogotá Plan incorporates several instrumental measures, not used previously in Modern Town Planning, either in its international or its local versions, among which the following may be noted : the proposal of a theoretical city model, summarizing the main elements of urban politics at city, metropolitan and regional levels. The city Civic Center ¿ and its replicas at quarter or ¿barrio¿ level - represents an entirely new urban function. Urban sectors and their street network, arranged in a hierarchy according to the 7v¿s Rule, as the indispensable basic structure for circulation and urban design at an intermediate scale and as a deductive result of Corbusian thought about the shape of cities at that date (Le Corbusier 1951: Jeanneret et al. 1951), 1959 (Bannen Lanata 1991; Cortés 1995; Salmona 2003). The graphic image of the Plan and its version for the CIAM grille, which consisted of a series of plans systematically arranged to show both the form and analysis of the proposals for the city, to be shown in comparison with other plans at the CIAM 8 meeting on The Heart of the City.

Proefschrift--Toegepaste Wetenschappen--Gent, 2004. / Mention parallèle de titre ou de responsabilité : Iannis Xenakis : ingénieur et architecte : une analyse thématique de l'oeuvre... Résumé en néerlandais. Bibliogr. p. 537-559.

Texte remanié de : Dissertation : Kunstgeschichte? : Berlin, Technische Universiẗat : 2002. / Bibliogr. p. 615-621.

Reproduction de : Thèse de doctorat : Architecture : Paris 8 : 2006. / Titre provenant de l'écran-titre. Bibliogr. p. 303-312. Index.

Thesis (M. Arch.)--Carleton University, 2002. / Includes bibliographical references (p. 132-135). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Maryland, 1979. / Vita. Includes bibliographical references (leaves 394-407). Also issued in print.