Le Corbusier and the “Mur Neutralisant:” An Early Experiment in Double Envelope Construction

1991 ◽  
pp. 257-262
Author(s):  
Harvey J. Bryan
Keyword(s):  
Early Experiment ◽  
Le Corbusier ◽  
Double Envelope

Bottoni e Le Corbusier: nel 1949 sul Monte Stella i nodi vengono al pettine

TERRITORIO ◽  
2017 ◽  
pp. 50-57
Author(s):  
Giancarlo Consonni ◽  
Graziella Tonon
Keyword(s):  
Le Corbusier

Le Corbusier, ida y vuelta

2009 ◽  
Vol 42 (1) ◽  
pp. 215-218
Author(s):  
Yannis Tsiomis
Keyword(s):  
Le Corbusier

Le Corbusier e le suggestioni dei ruderi

2020 ◽  
Author(s):  
Chiara Roma
Keyword(s):  
Le Corbusier

Nostalgia for the Dark

2018 ◽  
Author(s):  
Jocelyn Szczepaniak-Gillece
Keyword(s):  
Assembly Line ◽  
Le Corbusier ◽  
Dramatic Play ◽  
Movie Theater ◽  
Modern Machine

This chapter discusses the movie palace’s decline and the beginnings of the neutralized movie theater from the 1920s to 1932. While much scholarship has attributed the transition to either economics after the Depression or the emergence of sound, the chapter argues for the importance of modernist architectural trends, such as the work of Le Corbusier, and new dimensions of spectatorship invested in attention. Modern machine culture reinforced the need for a theater structure that would make spectators into parts of a filmic assembly line. Ben Schlanger emerges as the loudest voice of neutralization, demanding a “slaughtering” of unnecessary decoration in the urban movie theater. His and multiple lighting designers’ work with light and darkness in the theater exemplify the upheavals in 1920s–1930s exhibition: from a theater with a panoply of effects to one centered on the dramatic play of light and dark within the film and its environment.

scholarly journals In the service of secrecy: An enveloped history of priority, proof and patents

2021 ◽  
pp. 135918352110288
Author(s):  
Eva Hemmungs Wirtén
Keyword(s):  
Intellectual Property ◽  
Early Modern ◽  
Property System ◽  
Private And Public ◽  
History Of ◽  
The Individual ◽  
Propriété Industrielle ◽  
The Cost ◽  
Double Envelope ◽  
Double Compartment

This article is about an everyday paper object: an envelope. However, as opposed to most other flat paper containers, the enveloppe Soleau can only be bought from L’Institut national de la propriété industrielle (INPI) in Paris. At the cost of €15 you get a perforated, double-compartment envelope allowing you to constitute proof of creation and assign a precise date to your idea or project. But the enveloppe Soleau is something much more than just a simple and cheap way by which you can prove priority in any creative domain. It is a material footprint anchored to centuries of practices associated with disclosure and secrecy, a gateway into the infrastructure of the intellectual property system and its complicated relationship to the forms of knowledge it purports to hold. The purpose of this article is to consider the making of the enveloppe Soleau as a bureaucratic document, a material device performing a particular kind of legal paperwork. In four different vignettes, the article tracks the material becoming of the enveloppe Soleau as an evidentiary receptacle, beginning by going back to early modern practices of secrecy and priority, continuing with its consolidation in two patents (from 1910 and 1911) to the inventor Eugène Soleau (1852–1929), and ending up, in 2016, dematerialized in the e-Soleau. As a bureaucratic document, the enveloppe Soleau shows just how much work a mundane paper object can perform, navigating a particular materiality (a patented double envelope); formalized processes of proof (where perforations have legal significance); the practices of double archiving (in an institution and with the individual) and strict temporal limitations (a decade). Ultimately, the enveloppe Soleau travels between the material and immaterial, between private and public, between secrecy and disclosure, but also between what we perceive of as the outside and inside of the intellectual property system.

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