Thesis (Ph. D.)--University of Maryland, 1979. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 394-407).

Diss.--Philosophie--Stanford, Calif.--Univ., 1992. / Bibliogr. p. 362-399. Index.

The present study focuses on the cinematographic and television production of and on Le Corbusier, realized during his lifetime. Long ignored from photography and publishing as an instrument of communication for architecture and urban planning, this filmic work remains little known and recognized. The thesis is built in two parts: a catalogue volume of the filmic work, forming the corpus of the study, and a reflexive volume, which questions various aspects of creation and diffusion of this production.The first challenge of the thesis was to study the mass of archives relating to the various film projects in order to fill the gap of this aspect of Le Corbusier's production, to include it fully in his artistic production. The catalogue is the result of a transdisciplinary research, which required an investigation into three research domains: architecture, cinema and television, taking into account the specificities of each discipline. Each project or production of a documentary is described from its phase of intention to reception until its valorisation today, including technical data and contemporary references to films. This volume makes it possible to measure the importance of the quantity of cinematographic and televised documents that Le Corbusier undertook during his life or for which he was solicited. No other architect has been so frequently involved in documentary projects.The second research, reflexive, analyses the modalities of communication and representation of the architecture and urbanism of Le Corbusier through cinema and television. From crossing transdisciplinary theories - reception, diffusion, socio-economic, semiotic and rhetorical – with Le Corbusier's cinematographic and televised work, three hypotheses result: transmission, transposition and transcription.The study begins by questioning the mechanisms of transmission. By this is understood any mechanism of mediation of Le Corbusier through the documentaries - and by extension the television interviews. Crossing the results of the corpus with the theories of reception, diffusion and marketing, builds insights into the effectiveness or inefficiency of certain documentaries as tools for communication and even promotion.In a second stage, the knowledge about Le Corbusier's creation process, both in terms of the representation of architecture and in terms of the construction of discourse in cinematographic documentaries, is deepened. The principle of transposition begins with the observation that cinematographic documents maintain close links with their photographic contemporaries. The research uses semiotic theories to analyse how Le Corbusier composes with the imaginary and techniques of photography to design his film projects.The third principle, transcription, focuses on Le Corbusier's cinematographic argument. Here the analysis starts from the observation that Le Corbusier's writings on cinema and the thoughts he emanated, do not stick with the cinematographic reality and the necessities of a cinema of communication. His rhetoric in the cinema is analysed by taking the techniques described by the main theorists of rhetoric and compared to the examples from conferences and publications.This research allows to draw four conclusions. First of all, it turns out that film production is a very significant creative and functional production in Le Corbusier's work, which deserves to be valued. Then, reception by a large public, successful or not, seems intimately linked to the architect's efforts at the political level. Thirdly, Le Corbusier's way of promoting his work through film can be equated with marketing strategies. Finally, the analysis of the creative process of films has made it possible to understand the transversality of mediums, and to grasp even more the importance of a valorisation of this filmic work in the work of Le Corbusier. / Doctorat en Art de bâtir et urbanisme (Architecture) / info:eu-repo/semantics/nonPublished

Två av arkitekturhistoriens främsta teoretiker, Andrea Palladio (1508-80) och Le Corbusier (1887-1965), är goda representanter för arkitekturens två huvudgrenar; klassicismen och modernismen. Samtidigt som arkitekterna i mycket utgör varandras motpoler, verkade de båda för strikta ideal beträffande hur god arkitektur skall utföras. Deras respektive avtryck i historien bör inte passeras onämnda i den hastigaste av sammanfattningar; palladianismen användes som stilbegrepp fram tills på 1920-talet då Le Corbusiers läror tog avstamp för att alltjämt hemsöka oss i dagens härskandenyfunktionalism. Idén att ställa dessa giganter mot varandra, jämföra deras huvudsakliga ståndpunkter och söka sammanföra dessa i en ny form av kompositstil, väcktes efter en inventering av den plats som projektet är avsett att behandla. Närområdet kring platsen intill Fyrisån i Uppsala, erbjuder en rad arkitektoniska stilar från 1800-talets empir till modern nyfunkis. Allra närmast ligger ett postmoderntbostadshus och ett modernistiskt kontorskomplex i corbusiansk anda. I denna miljö skall ett nytt museum resas; ett museum som skall sammanföra gammalt och nytt, till innehåll liksom utsida. / Two of the foremost theorists in architectural history; Andrea Palladio (1508-80) and Le Corbusier (1887-1965), are both good representatives of architectures two main branches; classicism and modernism. The architects are direct opposites in many aspects. However, they are both advocates of strict rules of producing good architecture. Their imprints in architectural history are inevitable in the briefest of summarys. The concept of putting these architect giants face to face, comparing their main points of theory and trying to combine them in a neverseen composit style, was developed as a result of an inventory of the site. In the surroundings of the Fyris River in central Uppsala, there is a vast amount of architectural styles, reaching from early 19th century neo-classicism to modern day neo-modernmism. Closest to the site, there is a post-modern residential building complex and some modernistic office buildings in true corbusian spirit. In these invironments, a new museum will be risen, a house of the new and the old, inside and outside.

No description available.

How can architecture encourage and intensify a limited period of life? I examine this by composing an austere cell for living, focused on the interaction of materials, natural light, and human movement through specific distinct sequences. Casa Maderni in Riva San Vitale Switzerland serves as the starting point to receive the concequences of my design with: a new dining room, library, renovation of existing structures, but primarily a new living wing created at the rear of the property. I focus on the juxtaposition between the introverted private realm of the living cell and the public realm of the dining room. A series of spatial sequences through new and existing building parts is conceived as material manipulations to mediate connections at different scales, combined with the light and color to emphasize important architectural moments in sequence. This sequence of architectural momentss of public and private are choreographed at a larger scale in a master plan. Although silently assumed here, the role of architecture as a pedagogical tool can ultimately only be gauged through reality and human reaction. The architecture of Le Corbusier, Frank Lloyd Wright, and Carlos Scarpa assisted greatly through precedence in my architectural descisions. / Master of Architecture

[EN] This work aims to build a research process based on three concepts: "Le Plan Libre," "Le Coupe Libre 'and' L 'Espace indicible" through analysis-synthesis architecture projects developed habitat house the time 1914-1929 by Le Corbusier with his cousin Pierre Jeanneret and partner with which it forms study in 1922, when the latter leaves the Perret brothers, and moved in 1924 to the Architecture Workshop 35 rue Sèvres in Paris, where the Jeanneret "sea and mountain" begin pedaling together. The conceptual framework is bounded on three generating ideas or concepts supra-projective "Le Plan Libre" included in the manifesto "Les cinq points d'une architecture nouvelle" published in 1927; "Le Coupe Libre" never stated or by Le Corbusier, Pierre Jeanneret nor, like Adolf Loos never enunciated the concept of RAUMPLAN; and 'L' Espace indicible "enunciated by Le Corbusier in 1945 "Je suis l'inventeur de l'expression « l'espace indicible » qui est une réalité que j'ai découverte en cours de route. Lorsqu'une Oeuvre est à son maximum d'intensité, de proportion, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible : les lieux se mettent à rayonner, physiquement, ils rayonnent. Ils déterminent ce que j'appelle « l'espace indicible », c'est-à-dire qui ne dépend pas des dimensions mais de la qualité de perfection : c'est du domaine de l'ineffable." The study adopts two processes of experimentation, the first supra-proyectual following the evolution of the three concepts through single family habitat projects 1914-1929 timeframe, the Domino to Savoye, from the source to the house manifesto collects "Les cinq points d'une architecture nouvelle"; and a second process linked to a case study, the Villa Baizeau, which has the peculiarity of including two different projects to the same location, program and client develop for two partis linked to our subject, the free section in the first project, and open plan, in the second, analyzing their Untold space. How the idea of free plant is built? What is an open floor plan? Does the manifesto of five points is "a priori" or "a posteriori" of works? Just as there are the concepts of free and open floor facade Does the concept of free section? What is "L'Espace indicible"? Is there any connection between "Le Plan Libre," "Le Coupe Libre 'and' L 'Espace indicible "? These are questions to answer. / [ES] Este trabajo tiene como objetivo construir un proceso de investigación en torno a tres conceptos : «Le Plan Libre», «Le Coupe Libre» y «L 'Espace Indicible» a través del análisis-síntesis de los proyectos de Arquitectura de habitad unifamiliar desarrollados en el periodo 1914-1929 por Le Corbusier junto con su primo y socio Pierre Jeanneret con el que forma estudio en 1922, cuando este último abandona a los hermanos Perret, y se trasladan en 1924 al Taller de Arquitectura de 35 rué Sèvres de Paris, donde los Jeanneret "el mar y la montaña" comienzan a pedalear juntos. El marco conceptual se acota a tres ideas generadoras o conceptos supra-proyectuales: «Le Plan Libre» incluido dentro del manifiesto «Les cinq points d'une architecture nouvelle» publicado en 1927; «Le Coupe Libre», nunca enunciado ni por Le Corbusier, ni por Pierre Jeanneret, al igual que Adolf Loos nunca enunció el concepto de RAUMPLAN; y «L 'Espace Indicible» enunciado por Le Corbusier en 1945. "Je suis l'inventeur de l'expression « l'espace indicible » qui est une réalité que j'ai découverte en cours de route. Lorsqu'une Oeuvre est à son maximum d'intensité, de proportion, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible : les lieux se mettent à rayonner, physiquement, ils rayonnent. Ils déterminent ce que j'appelle « l'espace indicible », c'est-à-dire qui ne dépend pas des dimensions mais de la qualité de perfection : c'est du domaine de l'ineffable." El trabajo adopta dos procesos de experimentación, el primero supra-proyectual siguiendo la evolución de los tres conceptos a través de los proyectos de habitad unifamiliar del marco temporal 1914 hasta 1929, de la Domino a la Savoye, desde el origen hasta la casa manifiesto que recoge «Les cinq points d'une architecture nouvelle»; y un segundo proceso vinculado a un caso de estudio, la Villa Baizeau, que presenta la singularidad de incluir dos proyectos diferentes para el mismo lugar, programa y cliente que se desarrollan desde dos partís vinculados a nuestro objeto de estudio, La Sección Libre, en el primer proyecto, y la Planta libre, en el segundo, analizando su espacio Indecible. ¿Cómo se construye la idea de planta libre? ¿Qué es una planta libre? ¿El manifiesto de los cinco puntos es "a priori" o "a posteriori" de las obras? Al igual que existen los conceptos de fachada libre y planta libre ¿Existe el concepto de sección Libre?¿Qué es «L'Espace Indicible»?¿Existe alguna relación entre «Le Plan Libre», «Le Coupe Libre» y «L'Espace Indicible»? , estas son preguntas a responder. / [CA] Aquest treball té com a objectiu construir un procés d'investigació al voltant de tres conceptes: «Le Plan Libre», «Le Coupe Libre» i «L 'Espace Indicible» a través de l'anàlisi-síntesi dels projectes d'Arquitectura de habitad unifamiliar desenvolupats en el període 1914-1929 per Le Corbusier juntament amb el seu cosí i soci Pierre Jeanneret amb el qual forma estudi a 1922, quan aquest últim abandona als germans Perret, i es traslladen a 1924 al Taller d'Arquitectura de 35 rue Sèvres de Paris, on els Jeanneret "el mar i la muntanya" comencen a pedalar junts. El marc conceptual es delimita a tres idees generadores o conceptes supra-projectuals: «Le Pla Lliure» inclòs dins el manifest «Les cinq points d'uneix architecture nouvelle» publicat el 1927; «Le Coupe Lliure», mai enunciat ni per Le Corbusier, ni per Pierre Jeanneret, igual que Adolf Loos mai va enunciar el concepte de Raumplan; i «L 'Espace Indicible» enunciat per Le Corbusier el 1945 "Je suis l'inventeur de l'expression « l'espace indicible » qui est une réalité que j'ai découverte en cours de route. Lorsqu'une Oeuvre est à son maximum d'intensité, de proportion, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible : les lieux se mettent à rayonner, physiquement, ils rayonnent. Ils déterminent ce que j'appelle « l'espace indicible », c'est-à-dire qui ne dépend pas des dimensions mais de la qualité de perfection : c'est du domaine de l'ineffable." El treball adopta dos processos d'experimentació, el primer supra-projectual seguint l'evolució dels tres conceptes a través dels projectes de habitad unifamiliar del marc temporal 1914-1929, de la Domino a la Savoye, des de l'origen fins a la casa manifest que recull «Els cinq points d'uneix architecture nouvelle»; i un segon procés vinculat a un cas d'estudi, la Vila Baizeau, que presenta la singularitat d'incloure dos projectes diferents per al mateix lloc, programa i client que es desenvolupen des de dos partí vinculats al nostre objecte d'estudi, La Secció Lliure, en el primer projecte, i la Planta lliure, en el segon, analitzant el seu espai fora mida. Com es construeix la idea de planta lliure? Què és una planta lliure? ¿El manifest dels cinc punts és "a priori" o "a posteriori" de les obres? Igual que existeixen els conceptes de façana lliure i planta lliure Existeix el concepte de secció Lliure? Què és «L'Espace Indicible»? Hi ha alguna relació entre «Le Pla Libre», «Le Coupe Libre» i «L 'Espace Indicible »? , Aquestes són preguntes a respondre. / Asensi Roig, J. (2016). ¿De la planta libre a la sección libre?. El espacio indecible [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63444

O foco principal desta dissertação é o estudo da relação entre arquitetura e fotografia, tendo como premissa o fato de que o registro fotográfico nunca é neutro e sempre apresenta uma versão particular sobre aquilo que registra. A pesquisa trata especificamente da exposição Le Corbusier - Novo Mundo do Espaço (New World of Space), organizada pelo The Institute of Contemporary Art de Boston (ICA) em 1948 e realizada também no MASP em 1950, com utilização de muitas fotografias. Buscamos contribuir para o estudo do papel da fotografia na mediação entre o público e a arquitetura nos museus modernos, espaço de difusão e afirmação de ideias no campo da arquitetura e cultura modernas. O arquiteto franco-suíço Le Corbusier, cuja obra foi apresentada na exposição estudada, é considerado um dos maiores protagonistas do modernismo. Expoente da arquitetura moderna, era também um grande conhecedor da fotografia. O arquivo histórico do MASP e o acervo do Instituto Lina Bo e Pietro Maria Bardi forneceram as principais fontes para enfrentar o tema da pesquisa e especificamente da exposição, cuja descrição minuciosa e análise constam desta dissertação. As perguntas que nortearam esse estudo foram: qual é o valor que a fotografia assume nas exposições de arquitetura? Será que ela pretende trazer a realidade na forma de documento ou seria uma (re)interpretação dos que nos é apresentado pelos arquitetos em seus projetos? As fotografias são apresentadas a partir de seu valor artístico ou informativo? E qual seria a relação das fotografias com os outros elementos da exposição, tais como desenhos e maquetes? Concluímos, por meio de nosso estudo, que o projeto expográfico do MASP para a montagem da exposição de Le Corbusier mostrou-se mais moderno e arrojado do que o da instituição onde a mostra foi organizada originalmente e mais condizente com a proposta da obra do arquiteto. / The main focus of this dissertation is the study of the relation between architecture and photography, based on the premise that the photographic register is never neutral and always presents a particular version of what was registered. This research is specifically about the exhibition New World of Space held by The Institute of Contemporary Art in Boston (ICA) in 1948 which was also presented by the Museu de Arte de Sao Paulo (MASP) in 1950, including many photographs. We intend to contribute to the study of the photographs role in the mediation between public and architecture in the modern museums, considered the place for diffusion and ideas statements on the architecture and modern culture fields. French- Swiss architect Le Corbusier, whose work is presented in the exhibition in study is considered one of the most outstanding protagonist of Modern Movement. Considered to be the exponent of architectural modernism, Le Corbusier also had a great knowledge about photography. MASPs historical archives and the collection of Lina Bo and Pietro Maria Bardi Institute were the main source of information for this research and specifically for the exhibition itself, which detailed description and analysis can be found here. The present study was guided by the following questions: what is the value of photography on architectural exhibitions? Does photography intends to show the truth as a document or is it a (re)interpretation of what is presented to us by the architects in their projects? Are the photographs presented for their artistic or informative value? And what is the relation between photography and the other elements of the exhibition, such as sketches and models? Based on our studies our conclusion is that the expographic project in MASP is more modern and aldacious, in accordance with Le Corbusiers work proposal.

[pt] A Casa Nordschild (1931), primeira obra do arquiteto Gregori Warchavchik no Rio de Janeiro, ocupa, na história da arquitetura moderna brasileira, um lugar que oscila entre a memória e o esquecimento. Apesar de constantemente citada, ela nunca foi objeto de um estudo minucioso. Através do levantamento e análise de diversos discursos de memória sobre a inauguração e exposição dessa casa, revelam-se questões significativas a respeito do processo de formação da nova arquitetura no país. A Casa Nordschild é o ponto de interseção de diferentes trajetórias que formam uma ampla rede de relações caracterizada pela troca de experiências e informações de diferentes matizes, contribuindo para a diversidade das leituras e realizações vinculadas ao racionalismo arquitetônico. Situada no percurso de formação do movimento modernista - entre a Casa da Vila Mariana (1928) de Warchavchik, a primeira obra moderna do país, e o projeto do Ministério da Educação e Saúde Pública (1936), o marco oficial da implantação da nova concepção - a Casa Nordschild insere-se num período crucial para afirmação dos novos ideais construtivos, materializando, no quadro da cultura local, uma das visões mais estruturadas do moderno. Ao mesmo tempo ela é uma representação simbólica que coloca em pauta o tema do encontro cultural. Este, por sua vez, enseja uma dinâmica de interação que reflete, de um modo geral, a própria dinâmica da cultura local, marcada pelo caráter plural de sua constituição. Tal interação abre um amplo campo de possibilidades para o processamento de novas associações e sínteses, configurando, dessa forma, a contribuição particular e significativa da arquitetura moderna brasileira. / [en] The Nordschild House (1931), the first work of the architect Gregori Warchavchik in Rio de Janeiro, occupies a place, in the history of modern Brazilian architecture, which has oscilated between memory and forgetfulness. Despite having been constantly refered to, it has never been an object for detailed studies. Through the analysis of the various recollections on the opening and the exhibition of this House, some significant issues are disclosed, particularly with respect to the process of formation of the new architecture in this country. This House is the intersection of different trajectories which establish a vast net of relations, characterized by the exchange of experiences and pieces of information of different nuances, contributing to the diversity of understandings and achievements related to the architectonic rationalism. Situated in the course of formation of the modernist movement - between Warchavchik´s Vila Mariana House (1928), the first modern work in the country, and he project of the Ministry of Education and Health (1936), the official landmark for the implementation of the new conception - the Nordschild House is inserted in a crucial period for the implementation of the new structive ideals. These new ideals made possible, within the local culture, the materialization of one of the most structured visions of the modern. On the whole, it is a symbolic representation that arouses the theme of the cultural encounter. This encounter, therefore , suggests a dynamics of interaction which reflects, in general terms, the dynamics of the local culture itself, distinguished by the pluralism of its constitution. Such interaction sets a wide range of possibilities for the processing of new connections and synthesis, shaping, like this, the specific and significant contribution of the modern brazilian architecture.

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.