scholarly journals Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology

2015 ◽  
Author(s):  
Irene Chin
Keyword(s):  
Spatial Organization ◽  
Le Corbusier ◽  
Complete Picture ◽  
Degree Zero ◽  
Palabras Clave ◽  
Unlimited Growth ◽  
Conditions Of Possibility ◽  
To Come ◽  
Set Up

Abstract: “Let us imagine a true museum, one that contained everything, one that could present a complete picture after the passage of time, after the destruction by time…” This paper considers La Musée à croissance illimitée, an unrealized proposal from 1939 by Le Corbusier in which a series of galleries elevated on pilotis and organized about a square courtyard would extend – infinitely. The paper unfolds as an analysis of the museum and its relationship to history and time, structured by the form of Le Corbusier’s proposal. Four themes establish the parameters of the investigation – spatial organization, notions of monumentality, relationship to site, and ideas of growth – and Le Corbusier's resistant approach is considered as a method of criticality. Order-less, face-less, place-less, end-less. To categorize the Museum of Unlimited Growth as such is not to suppose conditions without, conditions of lack, or absence; but rather is a means to consider the proposal as an absolute – a degree zero that subsumes and thus allows for conditions of possibility. The themes set up a dialectical reading of the project, as its negations are bound to the assertive, positivity of the idea of a limitless spiral. Perpetually unfolding and folding in on itself, the Musée resists the forces of time. It is the ur- museum, a concept that negates the historiography of museums before and proposes an impossible model for museums to come.  Keywords: museum; limitless; growth; spiral. Palabras clave: museo; límites; crecimiento; espiral. DOI: http://dx.doi.org/10.4995/LC2015.2015.584

scholarly journals Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier

2015 ◽  
Author(s):  
Jerónimo Granados González
Keyword(s):  
20Th Century ◽  
Graphic Design ◽  
Le Corbusier ◽  
Design Strategies ◽  
Interesting Point ◽  
Exhibition Space ◽  
Palabras Clave ◽  
Unlimited Growth ◽  
Siglo Xx ◽  
The Relationship

Resumen: Dentro de la obra de Le Corbusier, el espacio expositivo fue un tema ampliamente desarrollado. La idea de generar un prototipo teórico de museo, por ejemplo, fue recurrente a lo largo de toda su obra, como una idea latente, en gestación, a la espera del momento para ser llevada a la realidad de la construcción. En el caso concreto del museo de crecimiento ilimitado, desarrollado teóricamente a lo largo de la década de 1930, los pocos ejemplos construidos son ejecutados a partir de los años cincuenta. Al realizar una compilación de los ejemplos de espacios expositivos proyectados por Le Corbusier, siguiendo líneas tipológicas similares, en donde se incluyan no solo museos, sino también, pabellones y salas de exposición, montajes expositivos e, incluso, propuestas comerciales (donde lo expuesto es una mercancía), se constata que el número total de obras supera las ochenta, abarcando proyectos desde 1910 (la sala de exposiciones del Taller de artistas) hasta la muerte de Le Corbusier en 1965, con el último ejemplo proyectado: el museo del siglo XX en Nanterre. A la hora de analizar las distintas estrategias proyectuales empleadas por el maestro a la hora de enfocar la arquitectura expositiva, un punto interesante es el reclamo publicitario, la propaganda y la captación del interés de los visitantes, la relación con el diseño gráfico y la publicidad, el empleo del color, el grafismo o la cartelería. Todos estos aspectos son especialmente relevantes en el caso de pabellones de exposición y pabellones para marcas comerciales. Abstract: Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks.  Palabras clave: pabellones; exposiciones; museos; publicidad. Keywords: pavilions; exhibitions; museums; advertising. DOI: http://dx.doi.org/10.4995/LC2015.2015.699 

scholarly journals Copy-Paste: Le Corbusier en OMA / Rem Koolhaas

2015 ◽  
Author(s):  
Raul Del Valle
Keyword(s):  
Le Corbusier ◽  
Palabras Clave ◽  
To Come ◽  
The Times

Resumen: La arquitectura que realiza OMA / Rem Koolhaas podría denominarse como un ‘juego sabio de los volúmenes reunidos bajo la luz’ disfrazados y entremezclados en la complejidad de los tiempos que vivimos, la de una arquitectura que debe reflejar nuestra sociedad. Para hacerlo posible, Rem parece ‘calcar’, paso a paso, la trayectoria lecorbuseriana, confundida y camuflada bajo hábiles mecanismos contemporáneos de ‘Copy-Paste’, vendiéndola al mejor postor como una ‘nueva arquitectura’ para los tiempos que están por venir. Pero el ‘Copy-Paste’ no es algo nuevo ni de ahora. Le Corbusier nos ha enseñado estos mecanismos de ‘Copiar-Pegar’ prácticamente en la totalidad de su obra, desde sus inicios hasta su madurez. Abstract: The Architecture that OMA / Rem Koolhaas makes could be call like a ‘the masterly interplay of masses brought together in light’ disguised and interspersed with the complexity of the time that we are living, an architecture that must reflect our society. To make it possible, Rem appears to ‘trace’, step by step, the Le Corbusier’s path, confused and camouflaged under skillful contemporary mechanisms of ‘Copy-Paste’, selling it to the highest bidder as a ‘new architecture’ for the times to come. However, the Copy-Paste’ is not something new or now. Le Corbusier has taught us these mechanisms of “Copy-Paste” practically in all of his work, from his beginnings up to his maturity.  Palabras clave: Copy-Paste; Cita; Koolhaas; Estructura; Materia; Programas. Keywords: Copy-Paste; Quote; Koolhaas; Structure; Materia; Programs. DOI: http://dx.doi.org/10.4995/LC2015.2015.792

Wounds Week 2: 1–5 February 2021

2021 ◽  
Vol 30 (3) ◽  
pp. 213-221
Keyword(s):  
Wound Care ◽  
Care Community ◽  
On Demand ◽  
Registration Process ◽  
Question And Answer ◽  
To Come ◽  
Set Up ◽  
The University ◽  
Difficult Times

On 1 February, Journal of Wound Care and the University of Huddersfield streamed the first of the live webinars on their Wounds Week channel ( www.woundsweek.com ). All sessions are now available to watch on-demand. With highly innovative topics, Wounds Week 2 gives a chance for the wound care community to come together in these difficult times and engage in key education, free of charge. The sessions had live question and answer sessions; participants asked questions of the experts, making them a key part of the event. The registration process takes just a minute. There's nothing to install or set up—simply register and fill out your details. Follow on twitter at #WoundsWeek

Balqis restaurant: how to move on?

2017 ◽  
Vol 7 (3) ◽  
pp. 1-19
Author(s):  
Farzana Quoquab ◽  
Shazwani Binti Ahmad ◽  
Wan Nurul Syazwani Binti Wan Danial ◽  
Jihad Mohammad
Keyword(s):  
Subject Area ◽  
Marketing Mix ◽  
Business Success ◽  
Strategic Decisions ◽  
Gradual Improvement ◽  
Content Type ◽  
To Come ◽  
Set Up ◽  
The Right ◽  
The Cost

Subject area This case can be used in marketing management as well as consumer behaviour courses. Study level/applicability This case is suitable to use in advanced undergraduate levels, MBA and MSc in marketing courses that cover topics related to market segmentation and marketing mix strategies. Case overview This case highlights the dilemma of an entrepreneur and a manager of a restaurant who were to take a decision about the sustainability of their restaurant business. Balqis Restaurant was owned by Danny who was a retiree from Telekom Malaysia. He wanted to open a restaurant business after he came back from his long holiday trip. He conducted market research to find a suitable place to open his Arabic restaurant. He assigned Waleed Masood Abdullah as the manager of Balqis Restaurant. Finally, in June 2010, he opened his long awaited restaurant at Gombak, Kuala Lumpur. The restaurant was known as Qasar before the name was changed to Balqis in 2015 because of copyright issues related to Saba’ restaurant at Cyberjaya. The restaurant was well managed under Danny’s supervision for 4 years and successfully won customers’ hearts and loyalty before he decided to give full responsibility to Waleed in March 2014. Danny trusted Waleed because he taught and trained him. However, under Waleed’s management, Balqis started to lose its customers. Waleed also started to branch out the restaurant to different places in different states; one in Ipoh, and the other in Perak. He invested much money on renovation for all three branches, but one of the restaurants closed down in September 2014. This is because of the fact that they could no longer bear the cost of operations for the restaurant. However, he failed to learn from the mistake; they set up another restaurant, which was in Kuantan, in the same month. The sales were not that encouraging but it did show gradual improvement; yet, they once again sold it to another Arab businessman. Waleed realized his failure in managing the restaurant business in August 2015. He again opted to open another new branch which was questioned by Danny. He was in a rush to open it by the end of December 2015 to ensure that the additional profits from the current restaurants could cover the variables costs if the new restaurants were launched. Based on that, the owner had to make a decision about whether a new branch should be opened or whether they should just retain their restaurant in Gombak. Expected learning outcomes The learning objectives of using this case are as follows. 1. Knowledge enhancement: to help students in understanding the problems faced by a restaurant in expanding its market; to make students aware that a properly blended marketing mix is the key to business success and to broaden students’ views and understanding in targeting the proper market segment in formulating an effective marketing strategy. 2. Skills building: to be able to identify the best marketing strategic decisions to manage the restaurant business for its survival and to develop students’ ability to analyse the existing situation to come up with a viable and effective solution. 3. Attitudinal: to help the students to have intellectual openness in accepting different ways of finding solutions for a particular problem and to assist students in making the right move at the right time. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email [email protected] to request teaching notes. Subject code CSS 8: Marketing.

scholarly journals A CRITICAL REVIEW OF GOVERNANCE IN THE DIGITAL ERA: A DEVELOPING NATION’S PERSPECTIVE

2020 ◽  
Vol 12 ◽  
pp. 169-183
Author(s):  
Ankit Kashyap ◽  
Mehak Jonjua
Keyword(s):  
Political Parties ◽  
Winston Churchill ◽  
Digital Era ◽  
Form Of Government ◽  
Previous Election ◽  
The Government ◽  
To Come ◽  
Set Up ◽  
Mass Protest ◽  
Best Argument

‗The best argument against democracy is a five- minute conversation with the average voter‘ is a famous quote by Winston Churchill. The statement also indicates the success or failure in any form of government depends primarily on voters and not on parties or politicians. The sustenance of a government in a democratic set up and in the age of anti-incumbency is viable only if it has the mandate. The current government in the territory of India is thriving despite a strong effort by the opposition to come together and stand against the government. The last two Lok Sabha elections held in 2014 and 2019 in India has been exemplary from the perspective that it has largely been Bhartiya Janata Party versus all other political parties, unlike the previous election where there has been contest between ruling and opposition parties. This paper aims to review the functioning of the incumbent government in last five years from manifesto till its implementation. The paper also aims to review the different policies launched by the government and their outcome. The paper will also examine how the government took some landmark decisions that witnessed mass protest and may prove fatal in times to come.

scholarly journals El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal

2015 ◽  
Author(s):  
Yolanda Martínez Domingo ◽  
Josefina González Cubero
Keyword(s):  
Le Corbusier ◽  
Urban Environments ◽  
Formal Structure ◽  
Summer Camps ◽  
Palabras Clave ◽  
Cylindrical Volume ◽  
Collective Housing ◽  
The Relationship ◽  
The City ◽  
Synthetic Work

Resumen: El "hameau" vertical de Le Corbusier es un prototipo de alojamiento colectivo, desarrollado como alternativa plástica a la "Unité d'habitation de grandeur conforme", quizás su obra más sintética. La torre residencial se concreta a partir de las teorías urbanas de la regla de las 7V, a través de la impronta de una de las formas elementales: el volumen cilíndrico, manteniendo prácticamente inalteradas capacidad, forma y dimensiones en cualquiera de los entornos urbanos donde se inserta, los proyectos no construidos de su última etapa para Europa. Lejos de ser un modelo genuino es deudor de otras construcciones previas, los albergues para las colonias infantiles italianas, promovidas por la fábrica FIAT en los años 30, y algunos experimentos residenciales del arquitecto francés Auguste Bossu, erigidos también por esos años en la ciudad de Saint-Étienne. El artículo traza las relaciones entre estas construcciones y las aldeas cilíndricas para solteros, analizando las particularidades de su estructura formal y la dinámica de su organización interna, para comprobar cómo son adoptadas por Le Corbusier en la constitución de la identidad de un nuevo tipo de vivienda colectiva que permanece todavía a la sombra de sus proyectos más reconocidos. Abstract: The vertical "hameau" of Le Corbusier is a prototype of collective housing, developed as a plastic alternative to “Unité d’habitation de grandeur conforme", perhaps his most synthetic work. The residential tower is generated from urban doctrine of 7V theory through the shape of one of the elementary forms: the cylindrical volume. The towers keep capacity, shape and dimensions unchanged in any urban environments where they are inserted: the unbuilt urban projects in his last stage in Europe. Far from being a genuine type, is based in other previous constructions; the children's summer camps sponsored by the Fiat factory in the 30s, and some residential experiments by French architect Auguste Bossu erected by those years in the city of Saint-Etienne. The article describes the relationship between these structures and the cylindrical villages for singles and analyzes the peculiarities of their formal structure and the dynamic of their internal organization in order to check how those constructions were adapted by Le Corbusier for the constitution of a new collective type dwelling which still remains in the shadow of his most famous projects.  Palabras clave: Le Corbusier; hameaux verticaux; comuna cilíndrica; torre residencial. Keywords: Le Corbusier; hameaux verticaux; cylindrical commune; residential tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.778

scholarly journals The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember

2015 ◽  
Author(s):  
Annarita Teodosio
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Le Corbusier ◽  
Palabras Clave ◽  
Representation Of Architecture ◽  
The Subject ◽  
The Many ◽  
Siglo Xx ◽  
The Relationship ◽  
Made In

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable.  Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947

scholarly journals Le Corbusier: architecture, music, mathematics: longing for classicism?

2015 ◽  
Author(s):  
Clara Germana Gonçalves ◽  
Maria João Dos Reis Moreira Soares
Keyword(s):  
Seventeenth Century ◽  
Le Corbusier ◽  
Palabras Clave ◽  
The Will ◽  
Music And Mathematics ◽  
And Mathematics ◽  
Universal Order ◽  
Siglo Xx ◽  
The Universe

Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”.  Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791

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

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