scholarly journals Les « Unités » Modulor dans la Philosophie de l’Espace de Gaston Bachelard

2015 ◽  
Author(s):  
Aurosa Alison
Keyword(s):  
Twentieth Century ◽  
Le Corbusier ◽  
Mots Clés ◽  
Gaston Bachelard ◽  
Lived Space ◽  
Carl Gustav Jung ◽  
A Current

Résumé: Celui du Modulor est le premier exemple de la mesure humaine utilisée dans l’architecture. L’architecture de la moitié du vingtième siècle a été influencée par les projets de Le Corbusier. En même temps, la pensée de Gaston Bachelard s’évolue contextuellement au Mouvement Moderne et en 1957 le philosophe publie le célèbre ouvrage « La Poétique de l’espace ». Une bonne partie de sa pensée a été influencée par l’étude des quatre éléments naturels, par une conception de l’espace intime et par les différents développements de l’image de la maison. La description de la maison, dans les mots de Bachelard, correspond aux thèses principales de Carl Gustav Jung sur les différentes étapes de l’âme. Dans cette étude nous analysons les liaisons entre une conception intime de l’espace vécu et la pensée progressive de l’architecture moderne. A travers les exemples suggérés par l’Unité d’Habitation et par le Cabanon de Le Corbusier, nous voulons illustrer les dynamiques d’une philosophie de l’espace, émotionnelle, intime et secret. Abstract: The Modulor is the first example of the human measure. The architecture of the second part of the twenty century was influenced by Le Corbusier works. The development of the thought of Gaston Bachelard is contextualized in the second half of the twentieth century too, he writhed the Poetic of the Space on 1957. His philosophy was influenced based on the study of the four natural elements, up to the conception of intimate space, namely that of the house. The Bachelard house description corresponds to the Carl Gustav Jung’s theses about the soul life and the soul stadium. In this paper we analyse the correspondences between an intimate conception of the lived space and an architectural progressive thought. Throw the examples of Le Corbusier’s Unité d’Habitation and of Le Corbusier’s Cabanon we try to explain the emotional, intimate and secret dynamic of a current Space Philosophy.  Mots clés: Unités, Modulor, Architecture, Mouvement Moderne, Gaston Bachelard, Poétique de l’espace, Espace intime. Keywords: Unités, Modulor, Architecture, Gaston Bachelard, Space Philosophy, Intimate Space. DOI: http://dx.doi.org/10.4995/LC2015.2015.1045

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.

scholarly journals « L’espace indicible »: conceptions et textualités

2015 ◽  
Author(s):  
Mickaël Labbé
Keyword(s):  
Le Corbusier ◽  
Central Place ◽  
Spiritual Experience ◽  
The Other ◽  
Architectural Theory ◽  
Mots Clés ◽  
The Past ◽  
Other Hand ◽  
The One ◽  
Experiential Quality

Résumé: La notion d’« espace indicible » occupe sans conteste une position centrale dans la théorie architecturale de Le Corbusier après 1945. Loin d’être un simple mot-valise ou un signifiant vide de sens, le concept d’espace indicible vise à penser le sommet de l’expérience esthétique et spirituelle dont est passible l’architecture, cela tant pour rendre compte de l’émotion plastique ressentie face aux chefs-d’œuvre du passé que pour décrire la qualité de l’expérience que l’architecte cherche à produire par ses propres œuvres. Ainsi, dans l’œuvre de Le Corbusier, l’expression « l’espace indicible » désigne non seulement un concept, mais également un ensemble textuel dans lequel la notion est thématisée et au travers duquel elle se constitue progressivement. L’objectif de cet article est double : d’une part, proposer une description des déterminations principales du contenu donné par Le Corbusier à la notion d’« espace indicible » ; d’autre part, à partir de l’examen des archives, faire le point sur les textes dans lesquels ce concept se formule. Abstract: The concept of “ineffable space” unquestionably occupies a central place in Le Corbusier's architectural theory after 1945. Far from being a portmanteau or a signifier devoid of meaning, the concept of ineffable space is aimed at conceiving the height of aesthetic and spiritual experience rendered possible by architecture. This is as much to realise plastic emotion felt in front of masterpiece from the past as to describe the experiential quality that the architect seeks to produce in his/her own work. Thus, in Le Corbusier’s oeuvre, the expression “ineffable space” not only denotes a concept but also a textual whole in which the concept is thematised and through which it is progressively constituted. The aim of this article is two-fold. On the one hand, I propose a description of the principle determinants of the content that Le Corbusier assigns to the concept of “ineffable space”, and on the other hand, analysing the archives, I wish to take stock of the texts in which this concept is formulated.  Mots-clés: Le Corbusier; espace indicible; théorie architecturale. Keywords: Le Corbusier; ineffable space; architectural theory. DOI: http://dx.doi.org/10.4995/LC2015.2015.470

The Representation of Mary in the Architecture of Le Corbusier's Chapel at Ronchamp

1999 ◽  
Vol 68 (2) ◽  
pp. 398-416 ◽  
Author(s):  
Flora Samuel
Keyword(s):  
Twentieth Century ◽  
Le Corbusier ◽  
Cult Of Mary ◽  
The Way

In the Fondation Le Corbusier in Paris there is a little guide for pilgrims that was given to the architect when he began work on the pilgrimage chapel of Notre Dame du Haut Ronchamp (1955), probably the most influential yet contentious building of the twentieth century (fig. 1). Within the guide, the section on the cult of Mary has been heavily underlined and in the margin is the word “feminism,” written by Le Corbusier, a very unusual departure for a man of his times. In this article I will examine the role of Mary in the work of Le Corbusier and discuss the way in which she is interpreted in the architecture of Ronchamp.

Influence of Carl Jung and William James on the Origin of Alcoholics Anonymous

2000 ◽  
Vol 4 (1) ◽  
pp. 3-12 ◽  
Author(s):  
Steven W. Finlay
Keyword(s):  
Life Events ◽  
Alcoholics Anonymous ◽  
William James ◽  
History Of Psychology ◽  
Carl Jung ◽  
Self Help ◽  
The World ◽  
History Of ◽  
Carl Gustav Jung ◽  
A Current

Alcoholics Anonymous is probably the most influential self-help organization in the world, with a current worldwide membership approaching 2 million. The origin of the organization has ties to Carl Gustav Jung and William James, 2 very prominent figures in the history of psychology. A brief history of the events that led to the formation of Alcoholics Anonymous is presented, with particular emphasis on the influence of Jung and James. An account of relevant life events of both Jung and James is provided, in addition to a summary of their views on alcoholism and its treatment. Speculation is offered on how the 2 men might view their unsolicited association with the organization.

Utzon

2003 ◽  
Vol 7 (2) ◽  
pp. 183-186
Author(s):  
Richard Weston
Keyword(s):  
Twentieth Century ◽  
Second Generation ◽  
Le Corbusier ◽  
Third Generation ◽  
Avant Garde ◽  
The Third ◽  
Theoretical Position ◽  
Long Time ◽  
Acoustic Separation ◽  
Mies Van Der Rohe

It has taken a long time to be able to assess Jørn Utzon's importance. Until the end of the twentieth century, the architect described by Sigfried Giedion as the most important of the ‘third generation’ hardly appeared in its literature. By contrast we had no such problem with Le Corbusier: there were the Oeuvres Complètes. It was easy to consult any building, indeed sketch, and along the way to be thoroughly coerced into his theoretical position. His massive and megalomaniac contribution to the last century could be studied first through L'Esprit Nouveau, the avant-garde magazine which promulgated him – ‘17.23, 2me février, 1926, Grande Pensée de L-C …’ and so forth – and later through the archives and sketchbooks. Wright suffered from too many publications. After the Wasmuth Portfolio of 1910 there was no single, accessible reference to his huge output: his theory tended to the verbose, and he was devious in concealing his own sources, most especially his debt to Japan. Mies van der Rohe wrote little and was famously gnomic; his buildings supplied his ‘text’. The so-called second generation, Aalto and Kahn, were well served in terms of publication of their work. The former's theoretical position took much posthumous teasing-out by critics to become widely understood. He could overcome people's ignorance of Finnish – for example, by his 1961 definition ‘acoustic separation is kilograms’ and by his stupefied reaction to the question of what module he used: ‘a millimetre, more or less!’ – but he wrote little.

scholarly journals Vernacular Serbia Traced by Jeanneret, Yugoslav Modern Figured à la Corbusier

2015 ◽  
Author(s):  
Ljiljana Blagojevic
Keyword(s):  
Twentieth Century ◽  
Comparative Analysis ◽  
Le Corbusier ◽  
Lessons Learned ◽  
The Other ◽  
Primary Sources ◽  
Palabras Clave ◽  
The One ◽  
Siglo Xx ◽  
Material Evidence

Abstract: The paper examines correlations of architectural culture in Serbia with modern ideas of the twentieth century that were engendered through engagement with concepts originated by Le Corbusier. Based on analysis of primary sources, the paper examines the dichotomy vernacular – modern as a critical point of this correlation. For instance, what was the significance of vernacular or folklore heritage, that Charles-Édouard Jeanneret traced in Serbia in 1911, and how did its value became part of the foundational discourse of the modern movement? What kind of relation to Le Corbusier’s doctrines were forged by modern architects in Serbia of the interwar years, and which lessons learned in his Parisian atelier by collaborators from the late 1930s had been transmitted far and wide in socialist Yugoslavia’s urban planning? This paper focuses on comparative analysis of direct material evidence of sources on the one side and interpretations on the other, with the aim to show more clearly a two-way working of sources, reception and selective transmission through architectural thinking and design process. In sum, the argumentation will aim to elucidate the processes of acknowledgment, emulation, idealization, analytical probing, dogmatization, critique and annihilation of Le Corbusier’s ideas in the long march of modernism’s emancipation and decline in Serbia over the course of the twentieth century. Resumen: El artículo examina las correlaciones de la cultura arquitectónica en Serbia con ideas modernas del siglo XX que se generaron a través de los conceptos originados por Le Corbusier. Basado en el análisis de fuentes primarias, el artículo examina la dicotomía vernácula - moderna como un punto crítico de esta correlación. Por ejemplo, ¿cuál fue la importancia del patrimonio vernáculo o folclore, que Charles-Édouard Jeanneret trazó en Serbia en 1911, y cómo se convirtió su valor en una parte del discurso fundamental del movimiento moderno? ¿Qué tipo de relación con las doctrinas de Le Corbusier se forjaron por los arquitectos modernos en Serbia de los años de entreguerras, y qué lecciones aprendidas en su taller parisino por los colaboradores de la década de 1930 habían sido transmitidas en la planificación urbana de Yugoslavia socialista? Por un lado, este documento se centra en el análisis comparativo de pruebas materiales directas de fuentes, y por el otro lado de la interpretación, con el objetivo de mostrar más claramente dos maneras de trabajo de las fuentes, la recepción y transmisión selectiva a través del pensamiento arquitectónico y proceso de diseño. En síntesis, la argumentación tratará de dilucidar los procesos de reconocimiento, la emulación, la idealización, la investigación analítica, dogmatización, la crítica y la aniquilación de las ideas de Le Corbusier en la larga marcha de la emancipación de la modernidad y el declive de la misma en Serbia en el transcurso del siglo XX.  Keywords: Le Corbusier; Serbia; vernacular; purism; socialist modernism; New Belgrade. Palabras clave: Le Corbusier; Serbia; vernácula; purismo; modernismo socialista; Nuevo Belgrado. DOI: http://dx.doi.org/10.4995/LC2015.2015.565

scholarly journals The Urban Canvas: Urbanity and Painting in Maison Curutchet

1995 ◽  
Author(s):  
Alejandro Lapunzina ◽  
Keyword(s):  
Twentieth Century ◽  
Urban Planning ◽  
Le Corbusier

This paper proposes a reading of the faqade of Maison Curutchet, a significant yet largely unstudied building designed by Le Corbusier in 1949, as a metaphor or a condenser of the architect’s ideas on urban-planning and painting. It also proposes that in this building Le Corbusier proved to be (contrary to what is often asserted) one of the most contextually urban oriented architects of the twentieth century.

scholarly journals ‘A New Order is Being Created’: Domestic Modernism in 1930s Britain

2016 ◽  
Vol 11 (3) ◽  
pp. 409-428
Author(s):  
Daniel Moore
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Interior Design ◽  
Le Corbusier ◽  
Small Scale ◽  
New Order ◽  
World War Two ◽  
World War ◽  
Living Space ◽  
Standards Of Living

This article addresses the attempts in Britain in the 1930s to integrate modernist aesthetics with the home. A number of initiatives during this period were directed towards improving both standards of living and the public's taste: arising from exposure to continental modernism (Adolf Loos, Le Corbusier) and with a fervent belief in the democratisation of the living space, innovators such as Wells Coates, Jack and Molly Pritchard, and Maxwell Fry sought to re-invent the home for the twentieth century. The results were often short-lived, and in some cases, abject failures. Yet the negotiations that these designers, architects, and visionaries made between high-minded aesthetics and the practicalities of quotidian British life reveal much about standards of taste during the 1930s. This article takes two case studies in detail: The Lawn Road Flats – the Isokon Building – in Hampstead, London, and the activities of the Design and Industries Association (DIA). In doing so, I chart the ways in which interior design developed in Britain during the decade before the outbreak of World War Two, and explore how small-scale, short-lived activities in this period laid the foundations for a flowering of new modes of living post-1945.

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