Ronchamp in the spotlight. The feature of a shocking building in the 50s journals. (original) (raw)
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Architecture and Art: La Ronchamp's symbiosis as a 'total work of art'
Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier's artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a 'total work of art', analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier's unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment.
Architecture, for me and for many, is one of the greatest art forms that exist and one of the greatest quality is that it reads as a timeline for cities and the evolution of man. Charles-Édouard Jeanneret, more famously known by the name of Le Corbusier, was a Swiss-French architect who also dabbled proficiently in urban planning, writing and painting. He was the founding member of the famous organization, Congrès International d'Architecture Moderne (CIAM) and seventeen of his designs are currently UNESCO world heritage sites because of his "outstanding contributions to the Modern Movement". Between the years of 1890-1930 three architects, Le Corbusier , Ebenezer Howard and Frank Lloyd Wright were trying to answer the question, "What is the ideal city for the twentieth century, the city that best expresses the power and beauty of modern technology and most enlightened ideas of social justice?"
2011
RESUMEN El objetivo fundamental es analizar la reacción de Louis I. Kahn al visitar Ronchamp en 1959, estudiando su dibujo del interior, comparándolo con otros del arquitecto y con un boceto similar de Le Corbusier. El sistema de apoyo de la cubierta se explica a partir de fotografías y planos seleccionados entre los 514 de este proyecto. La conclusión evidente es que Le Corbusier adoptó un sistema estructural de cierta complejidad para conseguir una iluminación interior acorde con el carácter religioso de la construcción, algo que –a la vista de su dibujo–, no pasó en absoluto desapercibido para Kahn. ABSTRACT The main objective is to analyse Louis I. Kahn’s reaction on visiting Ronchamp in 1959, studying his sketch of the interior and comparing it with others by the architect and a similar sketch by Le Corbusier. The system to support the roof is explained through photographs and plans selected from the 514 relating to this project. The evident conclusion is that Le Corbusier adopted a structural system of acertain complexity to achieve an internal light in keeping with the religious nature of the building, something that, as can be seen from his sketch, did not pass unnoticed by Kahn.
Montreal Architecture Review, 2019
The Chapelle Notre-Dame-du-Haut in Ronchamp designed by Charles-Edouard Jeanneret, also known as Le Corbusier, has been studied, analyzed and explored by architects, theorists and historians ever since it was completed. Despite these studies, scholars have paid little attention to the east wall of the chapel as a unique architectural element. An important and iconic element within this project, it is distinguished by the turning statue of the Virgin Mary set in a cabinet within the wall and surrounded by small openings allowing light into the chapel. While the moving statue had always been part of the original design, the small openings-the stars-were not. Somehow and sometime the eastern wall became a sky when, at the beginning of construction, it was a wall. The story began with Le Corbusier's slow design process, which allowed him to develop an evolving vision even after a design was finalized. His creative process allowed him to envision the building as a full scale model, which provided him with freedom to take advantage of new opportunities of designing during construction. This occurred with the east wall. A serendipitous * This essay was initially conceived in the late 1990s but developed for and presented at the AHRA conference on models and buildings at Nottingham in November 2005. I wish to thank Lisa Landrum and Margarita McGrath for their recent suggestions, as well as Peter Carl for his generous and extensive comments on the initial paper.
In the history of French architecture, the term "Beaux-Arts" refers to an academic institution: the famous art school on Rue Bonaparte on Paris's Left Bank. But it also evokes an architectural culture, collectively built within and around the institution by several generations of students and teachers, a culture that hinged upon shared standards, values, and practices. Just as there is a "Beaux-Arts style"one that is clearly understood by the School's alumni and demonstrated by their creationsthere is a "Beaux-Arts spirit": a shared view on the figure of the architect and his/her role in society. It is even possible to speak of a "Beaux-Arts system," considering that beyond the School itself, the elite who graduated from it, the hierarchies it established, and the evaluation criteria it used significantly contributed to organizing the architect's profession in France, by sharing out public orders and official duties.
El interior de Ronchamp en un dibujo de Louis I. Kahn
2011
Louis I. Kahn’s reaction on visiting Ronchamp in 1959, studying his sketch of the interior and comparing it with others by the architect and a similar sketch by Le Corbusier. The system to support the roof is explained through photographs and plans selected from the 514 relating to this project. The evident conclusion is that Le Corbusier adopted a structural system of a El objetivo fundamental es analizar la reacción de Louis I. Kahn al visitar Ronchamp en 1959, estudiando su dibujo del interior, comparándolo con otros del arquitecto y con un boceto similar de Le Corbusier. El sistema de apoyo de la cubierta se explica a partir de fotografías y planos seleccionados entre los 514 de este proyecto. La conclusión evidente es que Le Corbusier adoptó un sistema estructural de cierta complejidad para conseguir una iluminación interior acorde con el carácter religioso de la construcción, algo que –a la vista de su dibujo–, no pasó en absoluto desapercibido para Kahn.