The architectural conception of the museum in the work of le corbusier (original) (raw)
Related papers
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.
In this paper we will see, how the aesthetic contribution of the philosophy of intimate space in Gaston Bachelard is in tune with the creation of a space of "meditation" in Le Corbusier. Our main points will be focused on: 1) Bachelard's poetic space can relate to our everyday life, and 2) Le Corbusier's architecture serves as a concrete example of a philosophical and aesthetic contribution. At the same time, we will see how the man makes space, and consequently, Le Corbusier anthropocentrism, in the examples of the Couvent in Sainte-Marie La Tourette and the Cabanon, is represented by an apparently bare architecture that is revealed only when one inhabits it.
Additional insight into creative contribution of Le Corbusier
Facta universitatis - series: Architecture and Civil Engineering
Social turbulences and discontinuities of the 20th century, have as always reflected upon scientific and creative achievements, most visible in changes in architectural thought and relation to space. First half of the 20th century was shaped by the modernist movement, represented through technical and technological achievements of building into economy, social context and culture giving an overall sense of units and spirt of urbanism and architecture of the modern era. In architecture there is a special place for the architect of the new era Le Corbusier whose narrative shaped and dominated the urban and architectural medium. Through research one can draw an analogy conceived by Le Corbusier between a typical serial housing unit and his functionalist urban and regional planning. He was at the same time praised and despised, but has definitely shaped the urban landscape as we know it today. Through research into his essence and paradigms and contribution, this paper aims to reflect h...
From Rome to New York background to the urban proposals of Le Corbusier
Journal of Architecture and Urbanism, 2016
The paper argues that urban proposals of Le Corbusier arise from the study of the history of architecture. Through a comparison of his journey impressions with his urban projects, this paper demonstrates that the ideas and perceptions that determined Le Corbusier proposals were extracted and interpreted from the study that the young architect carried out of the settlements and cities of Eastern Europe and the Mediterranean in his well-known Voyage d’Orient.
Re-Considering Le Corbusier's Unfinished Projects
2010
Whereas the architecture of Le Corbusier (1887-1965) is again on the neo-Modernist agenda as the so-called "unfinished project", he is also blamed for the alienation of the street as a public realm, and the dispersed nature of most contemporary cities. Critics ignore the fact that he relentlessly opposed the anti-urban paradigm, and that his urban objectives are entirely compatible with contemporary concerns. The paper investigates four unfinished projects. First is Pavillon de l'Esprit Nouveau of 1925, which remained a prototype at an international exhibition. The other three are the Housing Quarter in Barcelona (1933), and the La Sainte-Baume and Roq-et-Rob projects on the Côte d'Azur (1948, 1949). It explores the ways these projects achieve (1) walkability, (2) densification, and (3) private gardens. Analyses rely primarily on comparisons of computer-generated drawings. Finally, this paper concludes that reconsidering Le Corbusier oeuvre can enhance the current knowledge base and contribute towards more sustainable neighborhoods.
Le Corbusier, the city, and the modern utopia of dwelling
Journal of Architecture and Urbanism, 2016
In Le Corbusier's urban plans, the conventional public space of the city is gradually dismembered until it coalesces with the natural surroundings, giving rise to the concept of tapis-vert. Its ultimate expression is found in the Athens Charter. By investigating Le Corbusier's formative years, this article aims to clarify issues of form and meaning involved in this process. The focus on this early period reveals that the territorial scale of the alliance between city and nature is a central theme of Le Corbusier's concerns with urban planning, preceding the influence of Latin America in the 1930s which is often seen as its underlying momentum. The focus on form and meaning reveals the inextricable links between this alliance and Le Corbusier's existential idea of unity. The tapis vert of the Athens Charter will thus be seen as a conceptual argument of the holistic world-view of Le Corbusier's urban visions: the binding element of meaningful architectural forms and natural world ultimately rooted in his attempt to realize the modern utopia of dwelling.
This article examines Le Corbusier's architectural design processes, paying special attention to his concept of "ineffable space". Le Corbusier related "ineffable space" to mathematics, arguing that both mathematics and the phenomenon of "ineffable space" provoke an effect of "concordance". He also argued that when the establishment of relations is "precise" and "overwhelming", architectural artefacts are capable of "provoking physiological sensations". For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony. This article analyzes the reasons for which Le Corbusier insisted on the necessity to discover or invent "clear syntax" through architectural composition. He believed that the power of architectural artefacts lies in their "clear syntax". Particular emphasis is placed on the relationship of Le Corbusier's theories of space with those of Henri Bergson and the De Stijl movement. At the core of the reflections that are developed here are Le Corbusier's "patient search" ("recherche patiente") and the vital role of the act of drawing for the process of inscribing images in memory. For Le Corbusier, drawing embodied the acts of observing, discovering, inventing and creating. This article also relates Le Corbusier's interest in proportions and his conception of the Modulor to postwar Italian neo-humanistic approaches in architecture. It intends to render explicit how Le Corbusier's definition of architecture was reshaped, shedding light on the shift from defining architecture as clear syntax to defining architecture as the succession of events.
The Role of the Fondation Le Corbusier in the Conservation of the Le Corbusier's Architectural Work
Docomomo Journal, 2015
Le Corbusier died on 27 August 1965 at Roquebrune-CapMartin, near his Cabanon. Without direct heirs and driven by the fear that his carefully conserved archives and works be scattered after his death, Le Corbusier spent the last fifteen years of his life conceiving and implementing, down to its smallest details, the project of a Foundation that would bear his name. Today the activity of the Fondation Le Corbusier comprises two main undertakings: circulating his work and spreading his ideas; preserving the architect’s work and collections. Indeed as the legatee and direct offshoot of its creator Le Corbusier, the Foundation holds the moral rights to this work and therefore has a duty to constantly watch over his architectural work (and indeed the artist’s entire legacy). For the Foundation each of his buildings constitute a piece of art in and of itself. Each issue concerned in the restoration of Le Corbusier’s buildings is effectively governed by this specificity.