Though constructed less than 60 years ago, the Berrals building, situated in the Tshwane Inner City has been identified as a place of historical and national significance. Its importance can be attributed to the designer, Wynand Smit of the architectural firm Smit and Viljoen, who contributed to the establishment of Pretoria Regionalism in the Transvaal (Gerneke 1998:216) and the fact that the building is one of only a few remaining examples of the Brazilian influence on Pretoria Regionalism during the 1950’s. At this point in time the structure is in dire need of an intervention due to its deteriorating state. The strong modern heritage of the building required recognition in the proposed intervention and a study of modern principles and its regional mutations became paramount in determining a suitable design intervention. The study functions as a tool to determine which components of the building, as a modern icon, requires preserving, as well as what the design approach will need to consider in terms of interacting with the modern structure when a suitable new program is inserted into the building. Copyright 2008, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Bezuidenhout, L 2008, Urban [i]scape : information centre, MInt(Prof) dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-11262008-222534 / > C137/eo / Dissertation (MInt(Prof))--University of Pretoria, 2009. / Architecture / unrestricted

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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.

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