Roche and Dinkeloo's Center for the Arts at Wesleyan University

2016 ◽  
Vol 75 (3) ◽  
pp. 339-365
Author(s):  
Joseph M. Siry
Keyword(s):  
Seventeenth Century ◽  
Creative Process ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Multiple Sources ◽  
The Arts ◽  
Greek Revival ◽  
Modernist Architecture ◽  
The 1960S ◽  
Mies Van Der Rohe

From 1965 to 1973, Kevin Roche and John Dinkeloo created the Center for the Arts at Wesleyan University in Middletown, Connecticut. The center appears to be an essay in mid-twentieth-century modernism, directly expressing its varied interior programs in cubic volumes of limestone walls and reinforced concrete spans for floors and roofs. As Joseph M. Siry demonstrates in Roche and Dinkeloo's Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s, the Wesleyan Center for the Arts is a condensation of ideas from its context, including the seventeenth-century regional vernacular and the local Greek revival and contemporaneous modern architecture, including works of Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn. This article broadens both our understanding of the creative process as an integration of multiple sources and our view of modernism's potential to innovate while fittingly engaging with earlier periods without duplicating their historical vocabularies.

From Bauhaus to Our House: Tom Wolfe contra modernist architecture

2020 ◽  
Vol 34 (1) ◽  
pp. 211-230
Author(s):  
Anna Maria Karczewska
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
The Other ◽  
Tom Wolfe ◽  
History Of ◽  
Modernist Architecture ◽  
Political Conditions ◽  
Mies Van Der Rohe ◽  
American Cities ◽  
Walter Gropius

In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.

scholarly journals Le Corbusier’s Legacy: Modern experimentation in Mario Bonito´s work

2015 ◽  
Author(s):  
Helder Casal Ribeiro
Keyword(s):  
Rational Design ◽  
Academic Work ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Third Generation ◽  
Design Issues ◽  
Crystal Palace ◽  
Palabras Clave ◽  
Modernist Architecture ◽  
Just Society

Abstract: This paper investigates the path of third generation Portuguese modern architect, Mário Bonito (1921/1976), in order to understand and clarify his contribution to the maturity process of portuguese modern architecture, that began at the end of the 1940s, strongly influenced by Le Corbusier. Through the understanding of his final academic work, CODA (Competition to Obtain the Architects Diploma), designated Pavilhão das Ilhas Adjacentes, located in Jardim do Palacio Cristal (Crystal Palace Gardens) in Porto, dated 1947/48, we intend to deepen his relationship with the modern premises of corbusier´s architecture, framed by portuguese reality. However Le Corbusier´s legacy in Mario Bonito´s work is not formal but thematic, in understanding the main issues that guide the intent of progressive man in molding a modern and just society. The paper covers themes characteristic to Portuguese modernist architecture such as the dialogue between craftsmanship and technique, compositional rigor and rational design issues resulting from the systematization of the construction processes, with the search for standardization of architectural and constructional elements. This dialogue emphasizes the compromise between tradition and modernity that will be present in all of Mário Bonito´s designed and written work, announcing the experimental temperament and formal coherence of his subsequent works. Resumen: Este artículo investiga el camino de la tercera generación de arquitecto moderno portugués, Mário Bonito (1921/1976), a fin de comprender y aclarar su contribución al proceso de la madurez de la arquitectura moderna portuguesa, que se inició a finales de la década de 1940, fuertemente influenciado por Le Corbusier. A través de la comprensión de su obra académica final, CODA (Concurso para Obtenção do Diploma de Arquitecto), designado Pavilhão das Ilhas Adjacentes, ubicado en Jardim do Palacio de Cristal en Porto, con fecha de 1947 / 48, tenemos la intención de profundizar su relación con las premisas modernas de la arquitectura Corbusiana, encuadradas por la realidad portuguesa. Sin embargo el legado de Le Corbusier en el trabajo de Mario Bonito no es formal, sino temático, en la comprensión de los temas principales que guían la intención del hombre progresista en el moldeo de una sociedad moderna y justa. El artículo abarca temas como el diálogo entre la artesanía y la técnica, el rigor compositivo y problemas de diseño que resulten de la sistematización de los procesos de construcción, con la búsqueda de la normalización de los elementos arquitectónicos y constructivos. Este diálogo enfatiza el compromiso entre la tradición y la modernidad que estará presente en todo trabajo diseñado y escrito de Mario Bonito, anunciando el temperamento experimental y coherencia formal de sus obras posteriores.  Keywords: legacy; Mário Bonito; portuguese architecture; Porto; universality. Palabras clave: legado; Mário Bonito; arquitectura portuguesa; Porto; universalidad. DOI: http://dx.doi.org/10.4995/LC2015.2015.1004

scholarly journals El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936

2015 ◽  
Author(s):  
José Luis Chacón
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
The Arts ◽  
Palabras Clave ◽  
The Relationship ◽  
The Way

Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts.  Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810 

scholarly journals Inception

2012 ◽  
Author(s):  
Joana Barbedo
Keyword(s):  
New York ◽  
Mass Media ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Architectural Theory ◽  
Mies Van Der Rohe

 Até que ponto o que sabemos, a nossa memória, não é apenas aquilo que os outros querem que seja?Viajar na memória. Aprender através da memória alheia significa ser moldado pelo olhar discreto de outros. A teoria contemporânea de arquitectura surge na década de 1960, produzida por autores como Jane Rendell, Anne Troutman, Beatriz Colomina, Mark Wigley. Através deles pode perceber-se que a memória está associada à publicidade, aos mass media e à consolidação da história. Como Colomina refere, Le Corbusier [a primeira dona de casa de Wisteria Lane] usa a retórica e a manipulação para construir a sua visão da arquitectura (apud Colomina, 1998, p.1850) e Mies van der Rohe [Mad Man] recorre à publicidade para criar uma imagem coerente (apud Colomina, 1994, p.207). A remontagem (apud Tafuri, 1984, p.207) começa. Agora que os segredos são desvendados, aprendemos a (re)construir a memória.  At what point our knowledge, our memory, is not just what others want it to be?Walk on memory. Learning through other’s memory means been shape by the discrete gaze of someone else.Contemporary architectural theory emerges in the 60’s, by the hands of authors such as Jane Rendell, Anne Trourman, Beatriz Colomina and Mark Wigley. Trough them it is possible to acknowledge that memory is associated to publicity, to mass media and to history itself.As Colomina points out, Le Corbusier [the first housewife of Wisteria Lane] uses rethoric and manipulation to build his vision for architecture (apud Colomina, 1998, p.185) and Mies van der Rohe [Mad Man] makes use of publicity to create a consistent image. (apud Colomina, 1994, p. 207).The remontage (apud Tafuri, 1984,p. 207)begins. Now that the secrets are revealed, we learn to (re)build memory.    Colomina, B. (1998). Privacy and Publicity, Modern Architecture as mass media. Cambridge (Mass.): MIT Press.Colomina, B. (1994). Images: Mies not. In Mertins, D. (ed.), Presence of Mies (pp.192-221). New York: Princeton Architectural Press. Tafuri, M. (1984). La Esfera Y el Labirinto: vanguardias y arquitetura de Piranesi a los años setenta. Barcelona: Gustavo Gili. 

scholarly journals Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes

2015 ◽  
Author(s):  
Fernanda Fernandes da Silva
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Machine Age ◽  
International Conference ◽  
The Arts ◽  
Palabras Clave ◽  
The Relationship

Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture.  Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783

scholarly journals Le Corbusier et les relations avec le Brésil

2015 ◽  
Author(s):  
Silvia Raquel Chiarelli ◽  
Ruth Verde Zein
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
Graphical Form ◽  
Mots Clés ◽  
De Se ◽  
The 1960S ◽  
The Relationship

Résumé: Les relations preofessionelles établies par l’architecte suisse-français Le Corbusier avec le Brésil ont été énormes et variées. Ayant été initiées dans les années 1920, elles ont été étendues jusqu’à sa mort en 1965, lorsque son projet de l’Ambassade de la France à Brasilia était en train de se développer (1964). Les informations disponibles sur l’ensemble des projets, des œvres et des événements qui montrent la relation de Le Corbusier avec le Brésil ont été dispersés par plusieurs sources, et ils sont étudiés par plusieurs rechercheurs. Cet étude recueille et présente, de façon organisée et systématique, les informations clés sur les événements, en cherchant à élucider les cas où les informations soient différentes ou contradictoires, en présentant un résumé de ses informations sous une forme graphique compacte. L’article propose également une premiàre approche de l’étude d’un cas, celui du projet original de Le Corbusier pour l’Ambassade de la France au Brésil. Une des dernières œvres de l’architecte sera étudiée à la lumière de ses relations antérieures avec le Brésil, en tenant compte de sa position face aux relations stratégiques projectives proposées par l’architecte tout au long de son œuvre, et en considérant d’une façon spécifique mais pas exclusive, les projets realisés ou non, qui ont été élaborés par l’architecte au cours de sa dernière période créative dans les années 1960. Abstract: The preofessionelles relationships established by Swiss-French architect Le Corbusier with Brazil was huge and varied. Having been initiated in the 1920s, they have been extended until his death in 1965, when the project of the Embassy of France in Brasilia was being developed (1964). The information available on all projects, works provided and events that show the relationship Le Corbusier with Brazil were dispersed by several sources, and they are studied by several rechercheurs. This study collects and presents an organized and systematic way, key information about events, seeking to clarify the cases where the information is different or contradictory, presenting a summary of information in a compact graphical form. The article also offers a premiere approach to the study of a case, that the original project by Le Corbusier for the Embassy of France in Brazil. One of the last works provided the architect will be studied in the light of its previous relationship with Brazil, taking into account its position to projective strategic relationship proposed by the architect throughout his work, and considering a specifically but not exclusively, realized or unrealized projects, which were developed by the architect during his last creative period in the 1960s.  Mots clés: Architecture moderne; Brésil; Ambassade de la France; Le Corbusier; œuvres; projets. Keywords: modern architecture; Brazil; Embassy of France; Le Corbusier; buildings; projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.285

scholarly journals Le Corbusier et le Brésil : une Synthèse des Arts Majeurs, et aussi des Arts Mineurs

2015 ◽  
Author(s):  
Cecilia Rodrigues dos Santos
Keyword(s):  
Rio De Janeiro ◽  
Industrial Design ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Ceramic Tiles ◽  
Mots Clés ◽  
The Arts

Resumé: Ce travail examine les discours des architectes Lucio Costa et Le Corbusier sur la Synthèse des Arts, et les analyses faites à partir de l’application de ces idées dans les projets d’Architecture Moderne Brésilienne des années 1940, en particulier le projet du siège du Ministère de l’Éducation et de la Santé à Rio de Janeiro. L’objectif du présent travail est alors de révéler et de mettre l’accent sur la collaboration entre Le Corbusier et les architectes brésiliens ainsi que sur les Arts mineurs, représentés ici par l’art de l’azulejo, dans le processus de Synthèse des arts, comme supports et véhicules des expressions artistiques des Arts majeurs ou Beaux-arts. Abstract: The objective of this work is, mainly through the speeches of Lucio Costa and of Le Corbusier on the "Synthèse des Arts" and the analysis of the application of these ideas to the works of the Modern Architecture in the years 1940 in Brazil, to reveal and to emphasize the important role of the Arts Mineurs and the Industrial Design in the process of the Synthesis of the Arts, as "vehicles" of the biggest expressions of the art intended to be integrated to the architecture, considering elements like ceramic tiles.  Mots-clés: Synthèse des Arts; Arts Majeurs et Arts Mineurs; Architecture Moderne Brésilienne. Keywords: Synthesis of the Arts; Major Arts and Mineurs Arts; Modern Brazilian Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.880

Houses beyond manifestos

2021 ◽  
pp. 18-25
Author(s):  
Ruth Verde Zein
Keyword(s):  
Le Corbusier ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Interconnected Network ◽  
Commercial Space ◽  
Good Shape ◽  
Individual Solution

Brazilian historiography on modern architecture, replicated by international authors, confirms the importance and the pioneer stance of Gregori Ilitch Warchavchik (1896-1972)/Mina Klabin’s (1896-1969) 1927-1932 architecture in São Paulo, and the 1126 Bahia Street (Luiz da Silva Prado) house, 1930-1931, São Paulo, Brazil, is a remarkable example of their initial set of houses. Its design dialogues with other houses simultaneously designed by Adolf Loos (1870-1933), Le Corbusier (1887-1965), Juan O’Gorman (1905-1982), and the connections among all these modernist pieces and their authors suggest the informal existence of an interconnected network of creators, spread across continents. Likewise, they all put forward proselytizing strategies to amplify the repercussion of their works through exhibitions, publications, and debates. The generous internal spaces of this house on Bahia Street, the steady play of its geometrical composition, and its wise topographical and innovative landscape arrangements are well balanced, providing the authors’ aim of both making a manifesto and providing the site and the client’s necessities with an appropriate individual solution. The house has been used as a commercial space in recent decades, but it has been properly maintained and it is still in good shape.

Christian Feminist Theology and the Arts

2021 ◽  
Author(s):  
Elizabeth Ursic
Keyword(s):  
Performing Arts ◽  
Feminist Theology ◽  
Christian Theology ◽  
Female Leaders ◽  
Christian Women ◽  
The Bible ◽  
Inclusive Language ◽  
The Arts ◽  
In Christ ◽  
The 1960S

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.

scholarly journals Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos

2005 ◽  
Vol 48 ◽  
pp. 235-256 ◽  
Author(s):  
Jimena Canales ◽  
Andrew Herscher
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Turn Of The Century ◽  
Less Is More ◽  
International Style

Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.

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