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.

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.