scholarly journals El dibujo y la noción de horizonte en Le Corbusier

2015 ◽  
Author(s):  
Germán Hidalgo Hermosilla
Keyword(s):  
Le Corbusier ◽  
Personal Style ◽  
Precise Form ◽  
Relationship Of ◽  
The Relationship ◽  
Panoramic Views ◽  
Fundamental Reference

Resumen: Este trabajo indaga en la particular forma de dibujar la arquitectura de Le Corbusier: una síntesis de distintas tradiciones gráficas que adquirió en su juventud y que fue capaz de integrar coherentemente en un estilo muy personal. Intentándola definir, William J. R. Curtis lo asimiló a un sistema de apuntes taquigráficos y la consideró dotada de un poder alquímico. Es un hecho que esta forma de dibujar abrió una vía fecunda de aproximación a la arquitectura, tanto para estudiarla como para generarla. En este trabajo intentamos precisar una de sus cualidades: la capacidad de situar, que se verifica a partir de la noción de horizonte. Como se sabe, el concepto de horizonte tomó una forma precisa con el surgimiento de la perspectiva renacentista, pero que en el caso de Le Corbusier es reformulada a partir de sus primeras experiencias con las visiones amplias, paisajísticas, elevándolo a referencia fundamental del hombre en el mundo, remitiéndolo por tanto a dimensiones históricas, culturales, existenciales. Abstract: This paper explores the particular way of drawing the architecture Le Corbusier: a synthesis of different graphic traditions acquired in his youth and which he was able to integrate coherently in a very personal style. Trying to define his way of drawing, William JR Curtis assimilated it to a system of shorthand notes and considered it equipped with an alchemical power. It is a fact that this way of drawing opened a fruitful approach to studying and generating architecture. This paper attempts to clarify one of his qualities: the ability to situate, putting into play the notion of horizon. As it is known, the concept took its precise form with the emergence of Renaissance perspective, but in the case of Le Corbusier it was reformulated from his first experiences with the panoramic views, raising it to the fundamental reference of the relationship of man and world, and thus returning it to historical, cultural and existential dimensions.Palabras clave: Le Corbusier; Dibujo; Horizonte. Keywords: Le Corbusier; Drawing; Horizon. DOI: http://dx.doi.org/10.4995/LC2015.2015.554

scholarly journals Diagrama y Arquitectura. La Sintaxis Espacial en el Carpenter Center for the Visual Arts

2015 ◽  
Author(s):  
Juan Alejandro Saldarriaga
Keyword(s):  
Public Space ◽  
Design Process ◽  
Space Syntax ◽  
Le Corbusier ◽  
Palabras Clave ◽  
Literary Images ◽  
Definition Of ◽  
A Site ◽  
Relationship Of ◽  
The Relationship

Resumen: El proceso de diseño para el CCVA comienza con dos frases que escribe Le Corbusier durante su primera visita al sitio en 1959. Sólo cinco meses después hace los primeros dibujos. De ahí la relación de este edificio con la sintaxis, si ésta se entiende como la búsqueda del orden y de la relación de los espacios. La sintaxis se observa aquí desde las primeras imágenes literarias hasta el nivel de definición de la forma, en el que se usan maquetas esquemáticas y desarmables, así como recortes de las áreas requeridas por el programa, con los que se experimenta de diversas maneras en un plano del sitio. Además de su interés persistente por diversos tipos de circulación, esta metodología emparenta al edificio con algunos proyectos de Le Corbusier donde también hace uso de los diagramas funcionales, o "diagrammes à bulles", como él los llama. El mismo tipo de diagrama fue usado más tarde por Bill Hillier en un método para analizar la arquitectura que llamó la "sintaxis espacial". Este método, además de analizar el orden y la relación de los espacios, permite entender su permeabilidad con el espacio público. Al ser un edificio atravesado por una ruta pública, y al iniciarse con imágenes literarias, se hace pertinente verlo a través de su sintaxis espacial. Abstract: The design process for the CCVA begins with two phrases that Le Corbusier writes during his first visit to the site in 1959. Only five months later the first drawings appear. Hence the relationship of the building with the syntax, if this is understood as the search for the order and the relationships in space. The syntax is observed here from the first literary images up to the definition of the form, in which schematic architectural models are used, but also cut-out areas required by the program, which are disposed in different ways on a site plan. In addition to his persistent interest in various types of movement, this methodology can also be seen in other projects where Le Corbusier also makes use of functional diagrams, or as he calls them: "diagrammes à bulles ". The same kind of diagram was used later by Bill Hillier in a method for analyzing architecture that he called the "space syntax". This method, in addition to analyzing the order and the relationship of spaces, can help to understand their permeability with respect to public space. As a building crossed by a public path, and as design process that starts with literary images, it becomes relevant to see it through its spatial syntax.  Palabras clave: Le Corbusier; diagrama, sintaxis espacial; espacio público; métodos de creación. Keywords: Le Corbusier; diagram, space syntax; public space; creation methods. DOI: http://dx.doi.org/10.4995/LC2015.2015.888

scholarly journals LE CORBUSIER. STREETS, PROMENADES, SCENES AND ARTEFACTS

2016 ◽  
Vol 40 (2) ◽  
pp. 151-161
Author(s):  
Xavier Monteys ◽  
Pere Fuertes
Keyword(s):  
Le Corbusier ◽  
Relationship Of ◽  
The Relationship ◽  
Made In ◽  
Formative Years

The relationship of Le Corbusier with the street is complex and sometimes contradictory. young Jeanneret seems to be persuaded by certain sites, which we may define as urban scenarios, during his visits to cities like Istanbul in his formative years. Unlike his hometown La Chaux-de-Fonds – identified by a regular set of streets – these places may have been a picturesque coun- terpoint activated by a significant topography. Streets meandering along a set of ‘Dom-ino’ houses in the Oeuvre complete, as the tracking rails of a long shot recording, offer a changing viewpoint that may be considered in relation with such casual arrangements. The claim to kill the ‘rue corridor’ made in Précisions, together with his later writings, deeply contrast with his own comments on an empty Paris in the summer of 1942 – as published in Les Trois Établissements Humains – praising the same streets he pretended to erase by means of operations like the ‘Ilôt Insalubre No 6′.

scholarly journals « Histoire d'une Fenêtre ». Le Corbusier y la construcción de la mirada

2015 ◽  
Author(s):  
Ricardo M. Meri de la Maza ◽  
Alfonso Díaz Segura ◽  
Bartolomé Serra Soriano
Keyword(s):  
Le Corbusier ◽  
Spatial Continuity ◽  
The Gaze ◽  
Palabras Clave ◽  
History Of ◽  
Chronological Sequence ◽  
Visual Impact ◽  
Definition Of ◽  
Relationship Of ◽  
The Relationship

Resumen: El artículo presenta un estudio de la relación de Le Corbusier con un mecanismo constructivo y de lenguaje arquitectónico fundamental en su obra como es la ventana. Durante ese recorrido se estudian diferentes aspectos que afectan a la definición de la ventana y su relación con la arquitectura que la contiene; en especial centrados en la idea de continuidad espacial y en la disolución conceptual y física de los límites del espacio. Para ello se cruzan enfoques que van desde lo puramente conceptual hasta las relaciones que se establecen entre las soluciones constructivas y sus repercusiones visuales sobre el objeto arquitectónico. Esta breve historia de la ventana en Le Corbusier está centrada en su obra doméstica a través de una secuencia cronológica que permite tener un panorama de la evolución de este elemento en su trayectoria. Podemos ver cómo se produce la transición desde la fenêtre en longueur hasta el pan de verre aménagé, pasando por numerosas aspiraciones, configuraciones y variaciones sobre el propio tema de la mirada y el mecanismo constructivo-visual que la define. Abstract: The article presents a study of the relationship of Le Corbusier with very a important constructive architectural mechanism in his work as the window is. During that route we study different issues affecting the definition of the window and its relationship to the architecture that contains it; in particular focusing on the idea of spatial continuity and the conceptual and physical dissolution of the limits of space. For that purpose we take different approaches ranging from the purely conceptual to the relationships established between the constructive solutions and their visual impact on the architectural object. This brief history of the Window at Le Corbusier is focused on his domestic work through a chronological sequence that allows an overview of the evolution of the element in his work. We can see how the transition occurs from the fenêtre en longueur to the pan de verre aménagé, through numerous aspirations, configurations and variations on the gaze theme and the constructive mechanism that defines it.  Palabras clave: Le Corbusier; Fenêtre; mecanismos constructivos; mirada; ventana. Keywords: Le Corbusier; Fenêtre; constructive mechanisms; gaze; window. DOI: http://dx.doi.org/10.4995/LC2015.2015.638

The relationship of the scleractinian corals to the rugose corals

Paleobiology ◽  
1980 ◽  
Vol 6 (02) ◽  
pp. 146-160 ◽  
Author(s):  
William A. Oliver
Keyword(s):  
Critical Points ◽  
Scleractinian Corals ◽  
Convincing Evidence ◽  
Early Triassic ◽  
Rugose Corals ◽  
History Of ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
Biologic Factors

The Mesozoic-Cenozoic coral Order Scleractinia has been suggested to have originated or evolved (1) by direct descent from the Paleozoic Order Rugosa or (2) by the development of a skeleton in members of one of the anemone groups that probably have existed throughout Phanerozoic time. In spite of much work on the subject, advocates of the direct descent hypothesis have failed to find convincing evidence of this relationship. Critical points are:(1) Rugosan septal insertion is serial; Scleractinian insertion is cyclic; no intermediate stages have been demonstrated. Apparent intermediates are Scleractinia having bilateral cyclic insertion or teratological Rugosa.(2) There is convincing evidence that the skeletons of many Rugosa were calcitic and none are known to be or to have been aragonitic. In contrast, the skeletons of all living Scleractinia are aragonitic and there is evidence that fossil Scleractinia were aragonitic also. The mineralogic difference is almost certainly due to intrinsic biologic factors.(3) No early Triassic corals of either group are known. This fact is not compelling (by itself) but is important in connection with points 1 and 2, because, given direct descent, both changes took place during this only stage in the history of the two groups in which there are no known corals.

Skeletal elements of crinoid echinoderms: High-resolution structural and microanalytical results

1983 ◽  
Vol 41 ◽  
pp. 194-195
Author(s):  
D. F. Blake ◽  
L. F. Allard ◽  
D. R. Peacor
Keyword(s):  
High Resolution ◽  
Marine Invertebrates ◽  
Sea Urchins ◽  
Structural Features ◽  
Sea Stars ◽  
High Resolution Tem ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

Echinodermata is a phylum of marine invertebrates which has been extant since Cambrian time (c.a. 500 m.y. before the present). Modern examples of echinoderms include sea urchins, sea stars, and sea lilies (crinoids). The endoskeletons of echinoderms are composed of plates or ossicles (Fig. 1) which are with few exceptions, porous, single crystals of high-magnesian calcite. Despite their single crystal nature, fracture surfaces do not exhibit the near-perfect {10.4} cleavage characteristic of inorganic calcite. This paradoxical mix of biogenic and inorganic features has prompted much recent work on echinoderm skeletal crystallography. Furthermore, fossil echinoderm hard parts comprise a volumetrically significant portion of some marine limestones sequences. The ultrastructural and microchemical characterization of modern skeletal material should lend insight into: 1). The nature of the biogenic processes involved, for example, the relationship of Mg heterogeneity to morphological and structural features in modern echinoderm material, and 2). The nature of the diagenetic changes undergone by their ancient, fossilized counterparts. In this study, high resolution TEM (HRTEM), high voltage TEM (HVTEM), and STEM microanalysis are used to characterize tha ultrastructural and microchemical composition of skeletal elements of the modern crinoid Neocrinus blakei.

Studies on Leukemogenic and Sarcomagenic Viruses

1970 ◽  
Vol 28 ◽  
pp. 156-157
Author(s):  
Leon Dmochowski
Keyword(s):  
Electron Microscopy ◽  
Electron Microscope ◽  
Morphological Properties ◽  
Mode Of Development ◽  
Relationship Of ◽  
The Relationship

Electron microscopy has proved to be an invaluable discipline in studies on the relationship of viruses to the origin of leukemia, sarcoma, and other types of tumors in animals and man. The successful cell-free transmission of leukemia and sarcoma in mice, rats, hamsters, and cats, interpreted as due to a virus or viruses, was proved to be due to a virus on the basis of electron microscope studies. These studies demonstrated that all the types of neoplasia in animals of the species examined are produced by a virus of certain characteristic morphological properties similar, if not identical, in the mode of development in all types of neoplasia in animals, as shown in Fig. 1.

The relationship of IGE receptor topography to signaling activity in RBL-2H3 mast cells

1991 ◽  
Vol 49 ◽  
pp. 236-237
Author(s):  
J.R. Pfeiffer ◽  
J.C. Seagrave ◽  
C. Wofsy ◽  
J.M. Oliver
Keyword(s):  
Mast Cells ◽  
Protein A ◽  
Scattered Electron ◽  
Ige Receptor ◽  
Receptor Complexes ◽  
Ige Binding ◽  
Electron Imaging ◽  
Small Clusters ◽  
Relationship Of ◽  
The Relationship

In RBL-2H3 rat leukemic mast cells, crosslinking IgE-receptor complexes with anti-IgE antibody leads to degranulation. Receptor crosslinking also stimulates the redistribution of receptors on the cell surface, a process that can be observed by labeling the anti-IgE with 15 nm protein A-gold particles as described in Stump et al. (1989), followed by back-scattered electron imaging (BEI) in the scanning electron microscope. We report that anti-IgE binding stimulates the redistribution of IgE-receptor complexes at 37“C from a dispersed topography (singlets and doublets; S/D) to distributions dominated sequentially by short chains, small clusters and large aggregates of crosslinked receptors. These patterns can be observed (Figure 1), quantified (Figure 2) and analyzed statistically. Cells incubated with 1 μg/ml anti-IgE, a concentration that stimulates maximum net secretion, redistribute receptors as far as chains and small clusters during a 15 min incubation period. At 3 and 10 μg/ml anti-IgE, net secretion is reduced and the majority of receptors redistribute rapidly into clusters and large aggregates.

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