Frank Lloyd Wright and Le Corbusier: The Romantic Legacy (original) (raw)

Le Corbusier Lessons in Modernism Le Corbusier Lessons in Modernism

Le Corbusier Lessons in Modernism, 2019

While Le Corbusier’s first sojourn in America, in the mid 1930s, has been meticulously reconstructed thanks to the research carried out by Mardges Bacon, the architect’s return to the United States after World War II has until now received only limited attention, for the most part focused on the history of the project for the United Nations Headquarters. The role played by that stay in his activity as a painter has instead remained largely off the radar of scholarship on Le Corbusier. It was, however, an extremely interesting chapter in the development of his thought, artistic vision, and public image, the moment in which Le Corbusier, in the new context of the United States, reconsidered his work as a whole in light of visual art and reformulated it in terms of the “synthesis of the arts.”. Specifically, this essay offers the first analysis of the reception of the architect’s painting in the United States, considering exhibition history, relations with gallerists and collectors, and the overall artistic environment.

Une petite collection nomade. Le Corbusier's "American" drawings

Le Corbusier. Lessons in Modernism, 2019

While Le Corbusier’s first sojourn in America, in the mid 1930s, has been reconstructed thanks to the research carried out by Mardges Bacon, the architect’s return to the United States after World War II has until now received only limited attention, for the most part focused on the history of the project for the United Nations Headquarters. The role played by that stay in his activity as a painter has instead remained largely off the radar of scholarship on Le Corbusier. It was, however, an extremely interesting chapter in the development of his thought, artistic vision, and public image, the moment in which Le Corbusier, in the new context of the United States, reread his work as a whole in light of visual art and reformulated it in terms of the “synthesis of the arts.” Within this practical and theoretical framework, his friendship with Costantino Nivola played a critical role, witnessed by the collection of works that Le Corbusier left with the younger artist, now divided between the Fondation Le Corbusier and private collections in America. This paper specifically reconstructs the history of the collection, examining Le Corbusier’s graphic and pictorial development between the late 1920s and early 1950s through his “American” drawings.

Le Corbusier's Art, Its Reflection on Architecture and Their Relationships

-, 2020

Charles Eduard Jeanneret, known as Le Corbusier, was born in 1887 and has grown in Jura, a region dominated by the French language of Switzerland. During his education here, he met Charles L'Eplattenier, who greatly influenced his life. In fact, by taking inspiration from nature and creating a different design each time, Charles became a model for Le Corbusier in this regard and encouraged him to the painting. The fact that he designed a hut made of stones and rocks for L'Eplattenier also allows us to see the influence of his teacher on him. Le Corbusier's acquisition of this ancient teaching of nature and vernacular was reinforced by William Ritter, a Swiss critic and painter, saying that identity did not form afterward and was dependent on culture and the past. At this point, his travel to Eastern Europe should be reviewed. Here he has experienced local traces a lot. However, he saw a so-called organic culture that could not escape industrialization in the west. He encouraged bringing together the west and the locals. (Passanti, 1997, pg. 444-445) Looking at Le Corbusier's trip drawings, Passanti explains that he encountered houses in the Balkans with long windows and large courtyards. He modernized the strip window and the covered terrace used in Villa Savoye by being inspired by the locality.

From Impact to Legacy: Interpreting Critical Writing on Le Corbusier from the 1920s to the Present

Le Corbusier, 50 years later. Conference proceedings., 2015

As a major figure of international modernism, Le Corbusier's work has been subject to extensive critique and review both during his lifetime and since, to the extent that he has become the world's most studied 20th century architect. While numerous attempts have been made to assess Le Corbusier's works and ideas in their meaning and influence, little attention has been given to understanding the phenomena of critical writing and research that continues to surround the architect. Drawing upon research by the authors in preparing a 4-volume anthology of writings on Le Corbusier's work for a major British publisher in 2016, the paper will trace critical reaction to the architect's practice through a survey investigation of research and writing produced mainly in English from the 1920s to the present. The paper will give a chronological account of the issues, ideas and approaches that have emerged in critical writings on Le Corbusier and his architecture, reporting on the historiographic questions that have presented themselves in undertaking such a large-scale survey work. Reviewing the work of well-known critics the survey has also sought out lesser-known voices whose presence reflects Le Corbusier's impact around the world, providing new interpretations through fresh perspectives on his work.

Unos dibujos de Le CorbUsier perdidos en Londres Five Le Corbusier´s drawings Lost in London

Este artículo presenta cinco dibujos –dos de ellos inéditos– de Le Corbusier para la conferencia a los alumnos de la Architectural Association de Londres en diciembre de 1947, en la celebración de su centenario; también fragmentos del texto original en francés, grabado y luego transcrito. Una versión adaptada fue publicada en Architect & Building News de 2 de enero de 1948 y en Irena Murrey and Julian Osley Le Corbusier in Britain. An Antology. en 2009, junto con dos de las imágenes. El texto original según la grabación y dos de las imágenes permanecían inéditos.

An Uncompromising Oeuvre. On the 50th Anniversary of Le Corbusier’s Death

Critique d’art, 2016

During the 1987 celebrations marking the centenary of Le Corbusier's birth, a Swiss draughtsman produced a caricature of him as a crazed giant, trampling on buildings in a traditional street, and pushing before him a terrified crowd in a scene of indescribable chaos. Not unwittily, the poster bore a title worthy of a bad B-movie: "Le Corbusier is Back!" The drawing referred as much to "the death of the street", words pronounced by Le Corbusier in the 1920s, as to the fantasies prompted by his work; it also illustrated the tidal wave of publications and exhibitions bestirred at that time by his anniversary. There is no exhaustive inventory of all the publications devoted to Le Corbusier, making it possible to define the outlines of the corpus of a historiographical study which still remains to be undertaken. Consulting the catalogue of the rich library of the Canadian Centre for Architecture (CCA) helps us to approach the scope of this publishing phenomenon, which publications marking the jubilee of his death, in 2015, do not belie.