El emplazamiento es y siempre ha sido un condicionante de la obra arquitectónica, pero ha sido a partir de la arquitectura del Movimiento Moderno que se le ha otorgado un papel protagonista en ese juego de relaciones que se producen entre la obra y su contexto, entrando a formar parte inextricable del proceso proyectual y de su representación gráfica. Para poder formular una reflexión sobre las incidencias diversas del lugar en la arquitectura y alcanzar los principales objetivos de la investigación, a lo largo de esta tesis se muestran, a través de diferentes proyectos, distintas estrategias con respecto a la implantación y conformación de esa arquitectura en la que los hitos del lugar están presentes en cada momento. La incorporación de innovadoras tecnologías de construcción y de nuevos materiales conlleva un nuevo lenguaje arquitectónico, una especial sensibilidad por el entorno y nuevos procesos de experimentación tanto a nivel formal como contextual posibilitando un diálogo más estrecho con el lugar. A partir de ese momento también en el campo de la representación gráfica se producen cambios, en parte debido a la aparición del cine y de la fotografía, que junto a otros factores facilitan la obtención de una visión más amplia, más de conjunto y a la vez más personalizada e intencionada. Aparecen los apuntes de viaje, los fotomontajes y las perspectivas aéreas y se hace especial énfasis en las primeras tomas de contacto con el lugar. Ya desde los años 50, muchos teóricos han definido la arquitectura como arte del lugar, paralelamente a la definición de la arquitectura como arte del espacio. Tanto el espacio como el lugar pasan a considerarse explícitamente como esencia de la arquitectura. A través del análisis de varios proyectos arquitectónicos a partir del Movimiento Moderno, obras emblemáticas por todos conocidas, se trata de observar y de señalar los aspectos más relevantes del proceso creativo del proyecto bajo el prisma de la consecución de ese fin de integración con el lugar. Ello nos llevará a una serie de reflexiones en busca de unas intenciones y de unas estrategias comunes entre los diferentes casos analizados, al margen de los saltos generacionales, ya que tanto se hablará de una obra de Wright como de una obra de Siza. En esta búsqueda se insistirá en una serie de conceptos fundamentales como el de las trazas y fuerzas vivas del lugar, organicidad y proceso orgánico, la ruptura de la caja, el continuum topográfico, el dinamismo de la componente horizontal y la descomposición, conceptos con los que comulgarán todos los arquitectos seleccionados. De este modo la tesis abre un camino de reflexión sobre la importancia del lugar en la arquitectura y de cómo se conforma esa arquitectura que nace en ese lugar de manera que no estropee el paisaje donde se implanta, sino todo lo contrario, que lo reordene y que lo mejore, contribuyendo paralelamente al interés por la formación de nuevas investigaciones en esta línea.

A historiografia recente da arquitetura experimenta um interesse renovado na obra e pensamento corbu- sianos, principalmente por conta do cinquentenário da sua morte. Entre outras experiências, salientam-se exposições em reconhecidos centros culturais, bem como debates, dissertações e teses produzidas na América e na Espanha. Vários dos seus autores, vindos da América Latina, têm focado na influência dos mestres modernos na arquitetura dos seus países ou na circulação das ideias desses entre arquitetos locais. Esta tese contribui à criação de um contra-relato para a arquitetura latino-americana, questionando a historiografia eurocêntrica, voltada para a produção de Le Corbusier nessa região. Baseada em fontes primárias como planos, cartas e rascunhos, a tese propõe a reconstrução da história do ateliê parisiense do franco-suíço - no n. 35 da Rue de Sèvres - mediante seus colaboradores latino-americanos, que trabal- haram ali durante três períodos diferentes, particularmente desde 1947, atingindo diferentes hierarquias. A chegada massiva de desenhistas e estagiários ao escritório de arquitetura mais importante em nível global evidenciou o caráter universal desse e viabilizou conexões entre eles, em um momento crucial na configuração política e cultural do território latino-americano. Os colaboradores também se alimentaram com experiências paralelas ao interior das correntes intelectuais que envolveram a França do Pós-guerra e que impeliram o progressivo afastamento crítico de Le Corbusier. Como resultado desse processo, esses colaboradores teriam concebido arquitetura consistente e de destaque ao retornarem para seus países. / Recent historiography of architecture lives a renewed interest in Corbusian thinking and works, mainly due to the 50th anniversary of his death. Between other experiences, we highlight exhibits in prominent cultural centers, as well as debates, thesis and dissertations from American and Spanish universities. Several of their graduates come from Latin America and focus on the influence of Modern Masters in their own countries or on the circulation of modern ideas between local architects. This dissertation contributes to the creation of a counter-narrative for Modern Latin American architecture, inquiring Euro-centered histo- riography, turned to Le Corbusier\'s production in that region. Predominantly based on primary sources as plans, letters and sketches, we propose the reconstruction of the history of this French-Swiss architect\'s Parisian studio -at 35, Rue de Sèvres- across its Latin American interns, working in three different periods, especially since 1947, and concerning different hierarchies of employees. The massive arrival of drafts- men and trainees to the most relevant architectural bureau globally, evidenced its universal character and generated connections between them, in a hard moment of cultural and political configuration of Latin American Territory. They also fed with parallel experiences inside the intellectual flow that involved the Postwar France and supported the progressive and critical estrangement from Le Corbusier. As a result of that process, those collaborators would conceived remarkable and consistent architecture when they went back to their countries.

Auguste Perret made his mark in history as the first architect to make use of ferroconcrete as an expressive material. The Rue Franklin apartments, the Garage Ponthieu, and the Church in Le Raincy are all milestones in the development of world architecture. In my dissertation, I have outlined the situation in the French architectural criticism in the first decades of the 20th century in order to provide background to Perret's career, which is chronologically treated in another part of the dissertation and completed with an overview of Perret's important buildings. I also wanted to demonstrate the interconnection of his projects with his theoretical thinking. I have referred to the sources of Perret's doctrine and presented the themes that this architect consistently developed throughout his creative life. In my research I took advantage of a rich collection of preserved archives of Perret's office, and both historical and contemporary literature. In another part of the dissertation, I attempted to find answers to the questions of Perret's reception in the Czech context and his contacts with Czech architects. I was also interested in Perret's relation to Czech architecture and in the last section I examined whether we can find works in Czech architecture that directly reflect Perret's influence. We...

[pt] Duas construções discursivas sobre o moderno arquitetônico que acharam destaque no Brasil e na Argentina entre os anos 20 e 40, encarnadas nas figuras de Lucio Costa e Alberto Prebisch, constituem a matéria desta reflexão. Seu eixo é o embate produzido entre os novos valores disciplinares tomados dos discursos europeus já constituidos - com destaque para a versão corbusierana - e os valores e demandas presentes nos arcabouços socioculturais e políticos argentinos e brasileiros a partir dos quais esses discursos foram lidos e apropriados. O conjunto de representações e formulações resultantes, que contribuíram com sua singularidade à retroalimentação do nó ideológico do moderno como problema, são analisados comparativamente através dos textos que estes dois arquitetos produziram dentro do periodo assinalado. / [en] The basic theme of this text is the comparison between two discourses on the architechtural modern, which were especially relevant in Brazil and Argentina from the 20s to the 40s. These positions are well represented by Lucio Costa and Alberto Prebisch. The text considers the confrontation between two different forms of reading the European discourse -with emphasis on the interpretation given by Le Corbusier- and the values and demands present in the Argentinian and Brazilian sociocultural and political structures; starting on them those discourses were read and appropriated. The wole resultant representations that contributed with their singularity to the feedback of the ideological node the modern as a problem, are comparatively analyzed through the texts which these two arquitects wrote during the period previosly marked.

The impetus for this study was the question of whether the information, which has been handed down on Czech architects who worked with Le Corbusier is true or not. Working in the studio of one of the leading architects of the 20th century was a crucial formative experience for dozens of architects while also being an attractive entry in their résumés. The doctoral thesis Myth and Reality: The Czech Assistants of Le Corbusier 1924-1937 is based on vast research of primary sources abroad as well as in the Czech Republic. The thesis critically examines the information known in the literature until now. The study aims to look behind the curtain of the formation of the existing historiography of Czech architectural modernism. It proves that architects themselves often entered history by means of their self- promotion skills. Parts of the thesis consist of a verified and critical list of Czech assistants at Le Corbusier's studio in 35 rue de Sèvres in Paris, detailed analysis of how work was conducted in the studio and an analysis of related sources. The work presents 13 Czech architects who worked in the studio of Le Corbusier and Pierre Jeanneret in the period between the two World Wars. The study follows individual forms of dialogue between young architects and Le Corbusier. In some cases, the research of...

Ce mémoire explore la question du rapport intérieur-extérieur chez Le Corbusier se questionnant sur la façon dont la notion d’interpénétration spatiale, postulat majeur de l’architecture moderne, est présente dans son discours. À travers l’étude des croquis, photos et notes de son Voyage d’Orient, ainsi que de certains principes architecturaux énoncés dans ses ouvrages théoriques emblématiques des années 1920, nous allons saisir chez Le Corbusier une pensée qui transcende l’idée d’objet architectural et révèle un intérêt spécial porté au site et à la dialectique horizontale-verticale. Certains dispositifs ou éléments architecturaux, tels que la colonnade et la colonne, vont se révéler aux yeux du maître, lorsqu’ils se trouvent dans des espaces de transition entre l’intérieur et l’extérieur, porteurs d’une fonction médiatrice entre l’homme et son milieu, et ce sera par le biais d’un outil de mesure : l’angle droit. Cette recherche entend contribuer à la compréhension de la pensée architecturale de Le Corbusier, notamment en ce qui concerne la relation architecture-paysage en tant qu’expérience phénoménale. / This work explores the interior-exterior relationships as defined by Le Corbusier, questioning the way in which he incorporates the idea of spatial interpenetration - a major postulate of modern architecture -. By studying sketches, photographs, and notes taken during his Voyage d’Orient, as well as certain architectural notions put forward in his emblematic theoretical works from the 1920’s, we will discover in Le Corbusier a thought that goes beyond the architectural object, revealing a special interest towards the place and the horizontal-vertical dialectics. Some architectural devices like the colonnade and the column will be seen through the master’s point of view –when placed at the transition between the inside and the outside-to bear a mediating role between man and his environment, using the right angel as a measuring tool. This research intends to contribute to the understanding of Le Corbusier’s architectural thoughts, in particular with regards to the relation between architecture and landscape as a phenomenal experience.

[pt] O conceito de museu de arte moderna é paradoxal. A contradição consiste na convivência da instituição museu - cuja atribuição original é de se ocupar de objetos do passado, destituídos de seu contexto original - com a arte da atualidade. Esta contradição está presente em todas as esferas institucionais e artísticas, acirrando-se ao longo do século XX com o surgimento do museu de arte contemporânea. Este trabalho analisa o edifício-museu como local desta contradição, a partir da relação entre as concepções arquitetônica e artística. Para tal, são analisadas propostas arquitetônicas e museológicas da primeira metade do século XX e edifícios paradigmáticos da segunda metade do século XX. Inicialmente, são estudados o Museu do crescimento ilimitado de Le Corbusier, o Museu para cidade pequena de Mies van der Rohe e o Museu de Arte Moderna de Nova York. Em seguida, são realizados estudos de caso do Museu Solomon R. Guggenheim de Nova York, do Museu Nacional de Arte Moderna, no Centro Georges Pompidou, e do Museu Guggenheim de Bilbao. / [fr] Le concept de musée d art moderne est paradoxal. La contradiction consiste dans la coexistence de l institution musée - dont l attribution originelle est de s occuper des objets du passé, destitués de leur contexte originel - avec l art de l actualité. Cette contradiction se trouve dans toutes les sphères institutionnelles et artistiques, augmentant pendant le XXème Siècle avec l apparition du musée d art contemporain. Ce travail analyse l édifice- musée comme l endroit de cette contradiction, à partir de la relation entre les conceptions architecturale et artistique. Dans ce but, se sont analysées des propositions architecturales et muséologues de la première moitié du XXème Siècle, bien que des édifices paradigmatiques de la deuxième moitié du XXème Siècle. Ce sont d abord étudiés le Musée de la croissance ilimitée de Le Corbusier, le Musée pour une petite ville de Mies van der Rohe et le MoMA-NY. Ce sont réalisés des études de cas du Musée Solomon R. Guggenheim de New York, du Mnam, dans le Centre Georges Pompidou, et du Musée Guggenheim de Bilbao.

La « promenade architecturale », expression inventée par Le Corbusier en 1929, à l’occasion de la publication du premier volume de l’Œuvre Complète, représente un concept clé corbuséen parmi les plus fréquemment évoqués. En suivant les pistes tracées par l’utilisation du terme «promenade architecturale» par l’architecte lui-même, sans s’y limiter toutefois, notre étude vise à clarifier la genèse, l’application et le développement de ce concept. Une méthodologie constituée de trois approches — historique, projectuelle et textuelle — est adoptée afin de mesurer son évolution de 1907 à 1939. La période de formation de l’architecte (1907-1915), constitue le champ d’observation de ses principales sources d’inspiration. Les débuts de la carrière de Charles-Édouard Jeanneret à La Chaux-de-Fonds depuis son retour du Voyage d’Orient en novembre 1911, son installation à Paris en janvier 1917, et la première décennie de la carrière de Le Corbusier (1920-1929), fournissent les pistes utiles à éclairer sa mise en place à l’échelle des maisons individuelles. L’«ère des grands travaux » (1929-1939) témoigne, enfin, de son développement et de sa mutation, particulièrement dans une suite d’études consacrées au musée. Cette dernière phase marque l’apogée de la promenade architecturale et présage de sa disparition textuelle dans la carrière corbuséenne de l’Après-guerre. Loin d’être une simple formule esthétique, la promenade architecturale se développe sur la base d’un croisement de diverses sources d’inspiration — peinture, art de bâtir les villes, littérature, cinéma et architecture — et à partir d’une fusion entre expériences de perception et de conception. Elle constitue ainsi une méthode fondamentale et spécifique de Le Corbusier pour penser l’architecture, qui le distingue des précurseurs et d’autres figures de proue du Mouvement moderne. / The promenade architecturale, an expression invented by Le Corbusier in 1929 when the first volume of L’Œuvre complète was published, represents one of the most frequently mentioned key concept of Le Corbusier. By following the paths traced by the uses of the term promenade architecturale by the architect himself, without limiting ourselves to them, our research aims to clarify the genesis, the implementation and the development of this concept. A methodology consisting of three approaches — historical, project-based and textual — has been adopted in order to evaluate how it evolved bet-ween 1907 and 1939. The formative years of the architect (1907-1915) constitutes a field to observe his main sources of inspiration. The early career of Charles-Edouard Jeanneret at La Chaux-de-Fonds, dating from the return of the young architect from the Voyage d’Orient to his departure for Paris in 1917, and the first decade of the career of Le Corbusier (1920-1929), provide helpful indices to understand how this concept was put into practice on private houses. At last, the ère des grands travaux (1929-1939) constitutes a testimony to the development of this concept, and is a witness of its mutation particularly along a series of studies that Le Corbusier devoted to museums. This last phase marks the peak of the promenade architecturale and announces its disappearing from Le Corbusier’s written work in his postwar career. Far from being a simple aesthetic formulation appeared accidentally, the promenade architecturale was developed on the basis of an action of crossing varied sources of inspiration — painting, art of building cities, literature, cinema and architecture —, and was deduced from a fusion of perceptive and conceptual experiences. Thus, it constitutes Le Corbusier’s fundamental and specific method for thinking architecture, which makes him stand out from his precursors and from other prominent characters of the Modern Movement.

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) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.

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) / [xxiv], 252 p. : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance. / Thesis (Ph.D.)--University of Adelaide, School of Architecture, Landscape Architecture and Urban Design, 2003